Artist`s Book Yearbook 2003-2005 - Book Arts

Artist’s Book Yearbook
2003-2005
Artist’s Book Yearbook 2003-2005
Published by Impact Press at
The Centre for Fine Print Research
University of the West of England, Bristol
September 2003
ISBN 0 9536076 9 0
© 2003 publication, Impact Press
© 2003 images, individual artists
© 2003 texts, individual authors
Editor: Sarah Bodman
Associates: Tanya Peixoto and John Bently
Design: Sarah Bodman
Design Advisor: Keith Jones
Cover Design: Tom Sowden
The views expressed within the Artist’s Book
Yearbook 2003 - 2005 are not necessarily those
of the editor or publisher.
CENTRE FOR FINE PRINT RESEARCH
Impact Press
Centre for Fine Print Research
UWE, Bristol
Faculty of Art, Media and Design
Kennel Lodge Road
Bristol
BS3 2JT
Tel: 0117 32 84747
Fax: 0117 32 84824
www.uwe.ac.uk/amd/cfpr
Sarah.Bodman@uwe.ac.uk
Back issues of the Artist’s Book Yearbook are still
available. For the 2001-2 issue please contact:
Impact Press at our address.
For the years: 1994-1995, 1996-1997 and
1998-1999 please contact:
Tanya Peixoto
Bookartbookshop
17 Pitfield Street
London
N1 6HB
Tel: 020 7608 1333
www.bookartbookshop.com
info@bookartbookshop.com
Artist’s Book Publishers
103
Bookshops and Galleries in the UK
105
International Bookshops and Galleries
107
Cooking the Books: Ron King and Circle Press
at the Yale Center for British Art, USA
Elisabeth Fairman
3
Artist’s Book Centres
110
Ten Books on my New Bookshelf; a review
John Bently
International Archives and Collections
11
Artist’s page Otto
15
Memo: This is not an Artist’s Book: a New
Zealand Collection Elizabeth Eastmond
17
Contents
Artist’s page Genevieve Waller
facing page 1
Introduction Sarah Bodman
1
Book Arts Collections/Archives UK & Eire 113
117
Visual Studies Workshop Press and Archive,
USA Sarah Bodman
121
Book Arts Organisations
125
Artist’s page Alec Finlay
127
The Battle of The Books / TNWK
Sarah Bodman
27
Book Arts Websites
128
Some Reformations Susan Johanknecht
33
Artist’s Book Website Review Guy Begbie
130
Artist’s page Lucy May Schofield
38
Artist’s page Paul Laidler
132
Artist’s Book Fairs
133
Book Arts Courses
134
Short Courses, Workshops and Summer
Schools in Book Arts
137
Artist’s page Steve McPherson
140
Print Studios and Print Facilities
141
Materials Suppliers
144
Bookbinders
145
Magazines and Journals
146
Booklyn: describing an artist defined aesthetic
39
of artists’ books Marshall Weber
Size Matters Dr Stephen Bury
Yes it’s True; Artists Make Books
Andi McGarry
47
51
13+: Contemporary Book Art From Germany
Ulrike Stoltz
53
One year of bookartbookshop 2002 - 2003
Tanya Peixoto
An Essay About Reading An Artist’s Book
About Reading Sarah Jacobs
66
67
Our art goes in multiple artists’ (chaps) books
Artgoes
71
Reference and related publications on the
book arts
149
Cut out and keep Chap Book Artgoes
Reference and Contemporary Exhibition
Catalogues
150
Artist’s page Kristen Merola
152
Artist’s Book Review Andrew Eason
153
Artist’s page Andrew Lanyon
165
Artist’s page contributors
166
Listings of Artist’s Books 2002 - 2005
167
75
The Special Books Collection of The Scottish
National Gallery of Modern Art
Ann Simpson
77
Artist’s page Alec Finlay
81
Gli Italiani - The Italians Carrie Galbraith
83
Artist’s page Kate Farley
89
ARCHIVE: a race against the instant?
Chris Taylor
91
Artist’s page Alec Finlay
215
Making Books Emma Hill
95
End page Tom Sowden
216
All of the information sections have been
updated and include organisations and centres
listings. Some of the organisations listed will
appear more than once as they come under
more than one category (i.e. places to study /
collections / print studios) and it seemed
sensible to list them in each so that they would
not be missed by a casual flick through the
book. There are more listings for the USA as I
had the opportunity to visit the Visual Studies
Workshop in Rochester last year and gathered
some new addresses whilst I was there. All the
contact telephone numbers have been listed
with UK dialling codes.
Introduction
Welcome to the 2003 – 2005 issue of the Artist’s
Book Yearbook, which has quietly grown by about
100 pages since the last issue. This is due not
only to an extended number of contributing
artists and writers, but also to the everincreasing number of artists out there
making books (the listings entries never
seemed to stop coming!), all of which is very
encouraging. There also seems to be a good
number of artist’s book fairs going on this year
(see page 133), more evidence, if any was ever
needed that artists’ books are here to stay.
Talking about the growth of artists’ books
would not be complete without also offering
congratulations to Tanya Peixoto for a hugely
successful year of artists’ books promotion,
exhibitions and events at the Bookartbookshop
in Hoxton, London (see page 66 for details).
The book arts listings sections are compiled
from the information we discover or receive,
if you know of more organisations, collections,
book fairs, centres, bookshops etc. that you
think should be included then please get in
touch so we can add them to the next issue in
2005. If this is the first time you have come
across the Artist’s Book Yearbook and would like
to list your books in the next issue, then please
contact us to be added to our book arts mailing
list so we can keep you up to date.
In this issue we have tried to show more
examples of international book arts, with essays
on artists’ books and their makers from
Germany, Italy, New Zealand and the USA as
well as the UK and Eire. I would like to thank
all of the writers who have given their time so
generously to write essays and reviews for this
issue; Elisabeth Fairman (Yale Center for
British Art), John Bently, Elizabeth Eastmond
(University of Auckland), Susan Johanknecht
(Gefn Press / Camberwell College of Arts),
Marshall Weber (Booklyn), Dr Stephen Bury
(The British Library), Andi McGarry,
Ulrike Stoltz (Hochschule fur Bildende Kunste,
Braunschweig, Germany) Sarah Jacobs,
Artgoes, Ann Simpson (The Scottish National
Gallery of Modern Art), Carrie Galbraith
(Scuola Internazionale di Grafica, Venice,
Italy), Chris Taylor (University of Leeds),
Emma Hill (EMH Arts / Eagle Gallery) and
Guy Begbie (Herefordshire College of Art and
Design). Many thanks are also due to Andrew
Eason for all his thoughtfully written, in depth
pieces for the new section of artists’ books
submitted for review.
Thanks are also due to; Neil Crawford for his
type suggestions, Paul Laidler for help with
slide scanning and opening rogue image files,
Tom Sowden for scanning countless slides and
(with his family) for the cover and end page
designs, and thank you to my mum for proof
reading the entire issue.
I would also like to thank the Centre for Fine
Print Research and the Faculty of Art, Media
and Design here at UWE, Bristol for allowing
me the pleasure of working on the Artist’s Book
Yearbook as part of my job. Without this
essential support it would not be possible to
produce each issue.
I hope you enjoy reading this issue of the
Yearbook as much as I have enjoyed putting it
all together.
Thanks are also due to the artists who have
kindly contributed a page of artwork,
in order of appearance; Genevieve Waller,
Otto, Lucy May Schofield, Kate Farley,
Alec Finlay, Paul Laidler, Steve McPherson,
Kristen Merola and Andrew Lanyon.
Sarah Bodman
1
Ron King, photograph: F. A. Parisod
Banners advertising the Circle Press exhibition
at the Yale Center for British Art, hung from
lamp posts all over New Haven during the
summer of 2002. The banner includes a detail
from The Left-Handed Punch (1986)
photograph: Richard Caspole
spacious with worktables, racks full of paper,
printing machines. A place full of possibilities
that de-mystified so many technical processes.
Ron King showed me how to set type, print
letterpress, and silk-screen - I learned many
skills and was introduced to a great many other
artists. It was a very open and generous
situation.’
Cooking the Books: Ron King and Circle Press at
the Yale Center for British Art
Elisabeth Fairman
Housing an astonishingly diverse collection of
approximately 30,000 volumes, the Department
of Rare Books and Manuscripts at the Yale
Center for British Art focuses on material
relating to the visual arts and cultural life in the
United Kingdom and former British Empire.
The collection depicts all aspects of British life,
customs, scenery, and travel, from the 16th century to the present. It includes artists’ manuals,
sporting books and
manuscripts, works on costume, the military,
entertainments and theatrical events,
transportation, natural history and popular
science, and illustrated children’s books and
games. Private press books - such as those
produced by William Morris at his Kelmscott
Press - complement a growing collection of
contemporary artists' books acquired over the
past twenty years or so.
Happily, Ron’s generosity even extends to
institutions such as ours. I first met him in the
fall of 1996 in London at the opening of an
exhibition of Circle Press at the National
Theatre, curated by writer, critic, and oral
historian Cathy Courtney. Through the Looking
Book was a perfect introduction to Circle Press
(as was her catalogue of the exhibition).
The sheer number and variety of the works was
striking.
It was a year later, during one of his periodic
trips to the United States, that I was able to talk
at length with Ron about Circle Press. He
showed me some marvelous books.
(I remember particularly the delight he took in
presenting both the intricate pop-ups of
Bluebeard’s Castle and the gorgeous blindembossed prints done by his wife, the sculptor
Willow Legge, for An African Folktale). We
arranged to acquire everything that Yale did
not already have - what in the end turned out
to be nearly 100 titles.
One of the most significant of the book artists
represented in the Center’s holdings is Ron
King. He and his Circle Press have been
making innovative and creatively significant
books for the past thirty-five years. Since 1967,
when he formed Circle Press to ‘draw together
a circle of like-minded people’ to make books,
King has worked with over one hundred artists,
writers, and poets, including Ian Tyson, John
Christie, Julia Farrer, Birgit Skiöld, Roy Fisher,
Kenneth White, and John Berger. The resulting
works are made from an extraordinary range of
materials - paper, wood, metal, stone, glass, and
wax - that stretch the concept and definition of
the book to its limits.
In January of 1998, Ron wrote to us: ‘Our aim
is to establish a fully comprehensive permanent
collection of Circle Press dating back to its
inception in 1967 until the present time,
available for handling and study.’ At the same
time, in a remarkably generous gesture, he and
Willow offered to donate the archive of the
Press to the Center, thinking it would
complement the collection of printed materials
as well as provide important primary material
for students and others interested in the book
arts. The extraordinary collection includes
drawings, plans, experiments, prototypes, texts,
correspondence, posters, critical reviews,
linoleum blocks, cutting and creasing forms
and some wood and metal type, all relating to
projects created by or for Circle Press. The
archive offers a unique opportunity to study
and understand the creative process. One can
trace Ron’s idea for a project from his first
The generosity Ron has shown to young artists
and first-time bookmakers over the years is
remarkable and continues to this day. There
are always one or two students working in his
studio in Notting Hill. Everyone who has ever
worked with him mentions his open
handedness. Artist and filmmaker John Christie
offers this recollection: ‘One of the great things
about Circle was that it welcomed ideas and
energy. I remember very well my first visit to
the studio (in 1975, then in Guildford)….
It was like a magical place for me. Light and
3
doodle in a spiral-bound notebook, through its
various permutations and its eventual
emergence as a work of art. We see how he
‘cooks the books’ (the title of the Center’s
exhibition), carefully working out the details of
every publication before production begins.
As Ron says, ‘My mind is like a cauldron.
There’s a great stew of things going round and
round. In the end I serve up a dish.’
The archive, together with copies of all the
published books, make the holdings at the Yale
Center for British Art the most comprehensive
collection of Circle Press in the world. Ron says
that their ‘most ardent support has always come
from the U.S., without which we never would
have been able to survive as an independent
self-supporting “workshop”… all this, as it were,
under a British roof in a very fine building on
American soil, couldn’t be more appropriate or
gratifying.’
Researchers can read correspondence between
Ron and his many collaborators. A revealing
example is Ron’s collaborations with the poet
Roy Fisher, during which the two of them rarely
met in person; their frequent written exchanges
demonstrate the richness and complexity of
their partnership.
In a poignant tribute, Ron and Willow are
giving the archive in memory of their son
Daniel, who died of cancer at the age of fifteen
in 1972. It will be known as the Daniel King
Circle Press Archive, to be kept in perpetuity at
the Yale Center for British Art and open to all
for research. Ron describes Daniel as “an
extremely bright, intelligent young man with a
highly developed social conscience, a good
draughtsman, and a keen stamp collector.
I didn’t realise the full extent of his collection
until after his death; I actually based some
prints on his penny blacks, penny reds, and
two-penny blues and dedicated them and the
portfolio Neighbours, We’ll Not Part Tonight to his
memory, but as we have no headstone or
plaque for him, an archive in his name, made
available mainly to young people, seems a
fitting alternative and one of which he would
approve.’
Fisher has said recently that his collaboration
with Ron on The Half-Year Letters (one of a
number of projects exploring folded and cut
letters that Circle Press has published over the
years) was of a ‘musical nature. Ron already
had a very dogmatic master text, so I thought I
would have a voice and a disposition muttering
along with his letters.’
This is interesting of course, but it is in the
original correspondence that we find the
details of the project. Roy Fisher wrote to Ron
in February of 1983: “This enormous text has
taken a long while and has grown like a sack of
potatoes from small beginnings. What I’ve tried
to do is establish a fairly vague text … which
doesn’t dramatise your letter forms in any
obvious way. My reactions to them are
submerged in my text….’
The exhibition Cooking the Books: Ron King and
Circle Press opened in June 2002 at the Yale
Center for British Art. It celebrated both the
gift of the Daniel King Circle Press Archive and
the thirty-fifth year of the Press’s existence.
While there have been other exhibitions of
Circle Press books, this was the first time that
preliminary drawings, original collages,
linoleum blocks, experimental letters, and
correspondence were on display along with the
finished projects - the ‘recipes that led to a
dish,’ as Ron put it. The exhibition’s
provocative title attracted some media attention
(the exhibition happened to open just as a
nation-wide accounting scandal was unfolding),
but as Grace Glueck from the New York Times
wrote, the exhibition ‘has nothing to do with
corporate chicanery and everything to do with
the wonderfully imaginative publications of
Mr. King, a maverick British publisher.’
For The Half-Year Letters Fisher took a random
starting date from his own diaries and extracted
events and observations from a twenty-six week
span. From this list, he constructed the poetic
text: ‘The actual images have their starts in
notes, diary dates, lecture titles & memoranda
and anecdotes picked out of a sequence of 26
weeks a while back (i.e., half a year - which
might give us a title or part of one) - but I’ve
tried to leave them loose enough for you to
inhabit. Plain point, though, is that this is a
maximum text, from which you can use
whatever chunks & slivers are of use, and
discard or downgrade (design-wise) the rest.’
4
Mr Punch from The Left-Handed Punch (1986) Screenprints and articulated puppets by Ron King; verse by Roy Fisher
Log Book (1995) one of a series of one-off books made from sawn logs
Elisabeth Fairman is responsible for the
acquisition and care of the Center’s collection
of artists’ books. Contact her by e-mail at:
elisabeth.fairman@yale.edu or write to her at:
Department of Rare Books and Manuscripts,
Yale Center for British Art, PO Box 208280,
New Haven, CT 06520, USA.
Other critics mentioned Ron’s preoccupation
with the alphabet, a ‘basic ingredient of the
book-making recipe.’ William Zimmer, also
from the New York Times, was intrigued by the
way that ‘various letters seem to appear and
retreat via the pop-up cutting and folding
process,’ remarking on Ron’s treatment of the
alphabet as ‘something that is at once familiar
and mysterious.’ Critics and visitors alike were
delighted by one of Ron’s most challenging
projects, The White Alphabet (1984), shown fully
extended in a long wall case. A reading area at
the end of the exhibition provided visitors with
the opportunity to actually handle a number of
Circle Press books.
For further information on the Yale Center for
British Art, consult their web site at:
www.yale.edu/ycba
Copies of Cooking The Books are still available
from the Center’s Museum shop (e-mail the
manager for details: lizbeth.oconnor@yale.edu)
or directly from Circle Press.
The published catalogue serves as a
comprehensive record of Circle Press
publications, from its start in 1967 with the
publication of Chaucer’s Prologue, to the latest
project issued in 2001, King’s Tabernacle: Hole,
Horse, & Hell-box. It includes an insightful essay
by Andrew Lambirth as well as fascinating
commentary and complete bibliographic
information on the individual works by Ron
himself. Handsomely designed by Thomas
Manss and Kathrin Jacobsen of Thomas Manss
& Company, London, the limited-edition work
includes a cover and special inserts designed by
King.
Consult the Circle Press web site for details of
the catalogue, as well as other works that are
still in print, at:
http://www.circlepress.com/circle_press/pilot/
Judith Hoffberg, editor of Umbrella, wrote in
the December 2002 issue of that journal:
‘This book is a joy to behold, not only for the
typography, but the images…. The catalogue is
a labour of love, a gift to us the readers, a gift
to those who revere Ron King, and a gift to
generations from now who can document this
amazing book artist.’
Elisabeth Fairman
Curator of Rare Books and Manuscripts at
the Yale Center for British Art, New Haven,
Connecticut, USA
6
Dolly: Edition Unlimited (1997) by Karen Bleitz.
Pop-up jigsawed bookwork on the theme of the (recently deceased) cloned sheep Dolly
Crab from An African Folktale (1979). An Efik Ibibio folktale illustrated with
blind-embossed intaglio designs by Willow Legge
7
Exhibition at Yale Center for British Art, showing a selection of preliminary drawings and collages for Neighbours We’ll Not
Part Tonight (1976) by Ron King: verse by Roy Fisher. The floor case contains collages and works by John Christie, including
A Walk Along the Shore (1977). Photograph: Richard Caspole
Poster from Tabernacle: Hole, Horse and
Hellbox (2001). Bookwork project using
a seven-drawer cabinet, celebrating seven
generations of printing in the King
family; includes magnetised and rubber
stamp letters for printing
Exhibition at the Yale Center for British Art, showing different alphabet projects on the wall and in the display cases on the
left. King’s portrait of fellow book artist Ken Campbell may be seen in the background. Photograph: Richard Caspole
Reading area of exhibition with Circle Press books available for visitors to handle. The wall on the left shows proof sheets
and cutting and creasing forms for Alphabet I; on the right are three monoprint collages from King’s stamp series.
Photograph: Richard Caspole
The names of the characters in Key’s ‘stories’,
as much as their endearingly pointless exploits,
are so vividly memorable. Punter Windigo,
Maud Glub, Canute Hellhound, Claud
Factotum, and my favourite, Father Todge:
“I was pleased, however, to note, that I had
been provided with a couple of stern devotional
tracts - Prayer and Spittle, by Father Todge…”
Ten books on my new bookshelf; a review.
John Bently, 11th April 2003
Recently I moved into a new flat. Space being
in short supply, I spent a morning scavenging
in skips for enough discarded planks to build a
bookcase for the toilet. Into this bookshelf,
adjacent to the toilet paper holder, I have
rearranged my favourite books. After much
deliberation, I have composed small reviews of
my ten most treasured:
This book has become a particular favourite of
mine after an evening spent in the company of
prunes.
The Final Party
Andi McGarry, Sun Moon and Stars Press
Twitching and Shattered
Frank Key, Malice Aforethought Press (1989)
The first book I bought from my favourite book
artist. In the 1980’s and early 90’s, Stephanie
Brown used to review artist’s books in her
highly influential Publications Supplement in
AN magazine. It was here, through her words
that I discovered a whole new world of diverse
characters making art with pages. I sold
hundreds of my own books through those
reviews, and occasionally bought work from
other artists, such as this.
Frank was one half of the notorious and
lamented Malice Aforethought Press, taking his
pen name from a photo in a local newspaper of
a rundown hardware merchant. I first met
Frank and his distinctively cheekboned
colleague, the esteemed Maxime Descharne
Dcsd. at the inaugural Small Press Fair at the
Conway Hall in 1986. Their stall was filled with
stapled pamphlets, all of them disarmingly
anarchic and quite unlike anything produced
before or since by mainstream publishers.
All of McGarry’s books in those days had
printed text, but with every single illustration
painted in on top by hand. Although I own
about ten of them now, this first purchase
remains my favourite.
Twitching and Shattered is a compilation of the
best of these, chronicling an unnerving and
ludicrous parallel universe. There are maps,
biographies, diagrams, found photos, histories,
geographies, drawings and much more. Even
now, many years after acquiring this book, I still
can’t categorise it. It isn’t surrealism, it isn’t
satire, it’s just not like anything else.
Disarmingly simple, his poetry, perfectly
imbedded into the illustrations, celebrates life
lived in the moment like almost nothing else in
contemporary art.
Many of the pamphlets chronicle the fabled
land of Hoon, a deranged and startling literary
creation, visited frequently by the author,
remaining, despite its thorough mapping, as
mythical and distant as Atlantis:
The text here is ostensibly a mere list of who he
would invite to the Final Party:
“…Also invited are the Dawn Chorus, Buskers,
especially bagpipers, foghorns, hump back
whales. Also howling winds, rustling leaves,
anyone wearing wellies or who uses a bicycle.
A volcano display, at least one streak of
lightning, and a glorious feeling I can’t quite
put into words…”
“Summoned to Hoon in 1836 by the ecclesiastical court, (Slobodan) Gubbins gathered about
him an army of vagabonds and laid the town
under siege. Circumnavigating the town walls
astride his tubercular horse, he kept up the
spirits of his gruesome band by smearing their
scalps with ambergris and teaching them simple
conjuring tricks.”
A dark day is brightened by a minute’s visit to
this book.
11
Intrigued, I asked the artist if they were a form
of writing. He said, no, they were drawings of
writing. Wow! That question has intrigued me
for years - how do you actually draw writing?
Rarely has the symbiosis of text and image
been so neatly encapsulated than in this little
handbound treasure. I show it to students
constantly…
The Beano Annual (1966)
Any Beano annual, actually… But this is the
one that for me is the standard by which all
others are judged. It came out when I was eight
years old and still believed in fairies, bogeymen
and Father Christmas. I also believed that all
the characters in the Beano were really alive.
I got my first Beano annual in 1960 and have
collected them ever since…40 copies in total,
donated last year to Arthur, my eight year old
son.
N. B. Since writing this, I took the book to
show some students and it didn’t come home,
presumed lost. Any more copies hanging about,
Guy?
For those of you not in the know, the Beano
is a coded anarchist manifesto encouraging
young people to a lifelong struggle against all
forms of authority. It offers instruction in the
creation of home made weapons of mass
distraction; the cattie, the pea shooter, the
water pistol and the soap box cartie. Authority,
bullying and spoilsport, is symbolised by the
parentally wielded slipper. Here are the most
famous anti-establishment heroes in British
history: Minnie the Minx, Billy Whizz, Dennis
the Menace and my own personal favourite,
the eternally conniving, devious and cunning
Roger the Dodger. The first books I ever made
were my own hamfisted reconstructions of
Roger’s famous Dodge Books.
Samizdat Les Bicknell & Derek Humphries,
Oblivion Boys Press (15th October, 1985)
I swapped this with Les for one of my own
books Actually, I asked him for one of his
expensive one-off metal and wood masterpieces, but he tactfully sent me this instead.
I remember seeing the book in 1985, not long
after it had been made, and feeling quite
jealous, as it contained all the elements I was
myself using in the early Liver & Light’s
manifestos, but done more elegantly and
effectively. It has rubber stamps, found text,
tip-ins, photocopies and so on.
I wrote to Roger for his autograph. An artist
sent me back a hand drawn cartoon of his Dad,
ears steaming, swishing his ever ready slipper.
The speech balloon read “ I asked Roger to
sign this , but he’s dodged it!” On a more
serious note, many years later, studying some
early English illuminated books from the 13th
century, I was struck by how similar they were
in structure, if not content, to the Beano,
speech balloons and all.
It sums up for me the post punk period of
innocent inventiveness, owing much to the
fanzine underground, when computers were
only found in banks and the photocopier
was a new frontier ripe for exploration:
“Derek Humphries and Leslie Bicknell are the
proud parents of Samizdat, conceived whilst
enjoying the life of the idle poor in the early
summer of 1985, nurtured through difficult
times and finally executed on 15th October
1985 in a severely limited edition of 20
copies…”
A Book Of Fig’s
Guy Begbie
At the 1997 London Artists Bookfair at the
Barbican, this was the only book I bought.
It encapsulated for me something you can do
in a book that you can’t do in any other
medium. It contains what seems to be a series
of scribbles on each page (fig’s 1,2,3 etc).
Poetic and personal, knowing no rules,
straining at its own boundaries, I stole the
techniques, made them work for me and
moved on…
12
Dance you devilled dale of green,
tolled and witching in the flight of wishing,
for the bells of winter stark
and cannoned under the crunched
willet wonder of her lancing smile.
Noggins
Mark Pawson (October 2001)
This book was recently bought for me by a
close friend. She is now my wife. These things
may or may not be related. It is the antithesis to
all those dumb list books which now seem to be
the staple of any publisher who wants to seem
fashionable or artistic. Like a lot of Pawson’s
books, this one stems from an enthusiasm, no,
make that mania, for collecting, in this case
Noggins - his name for the profusely hirsute
wooden Viking dolls that proliferated in
Scandinavia and beyond during the seventies.
No mere list, though. Noggins is imbued with
a heartfelt pseudo scholarliness and the
fragmentary tale of a modern day Saga - the
author’s epic search through the boot fairs and
charity shops of contemporary England in
search of golden fleece and holy grail; shape
shifting, pillaging - a blood-eagle to the classpox of so called high art. Pawson’s best work is
a window into a personal world that has
relevance for a great many people. One day
one of his books will sell a million copies and I
will deserve to be bought a drink.
Puckoon
Spike Milligan, Penguin Books (1963)
No, no…Spike was my first hero… I went to
see him with my dad. He had a tailor’s dummy
on stage and he attacked it violently with a
Samurai sword if we didn’t laugh loudly
enough. He swung maniacally from sad
diatribes against pollution and saving whales
to a wild physical humour so surreal and so
wilfully lo-tech (broomsticks as false moustaches
and sandwiches hastily improvised as wigs,
etc.), that I actually wet myself.
The Warlock of Love
Marc Bolan, Lupus Music (1969)
Marc was my first hero and I found this book
in a junk shop in 1971 during the height of his
fame.
It appears to be a privately printed (in wonky
letterpress) volume of his Tyrannosaurus Rex
era poetry.
I started buying his books with my pocket
money and they remain a great ideal for me.
They look like they’ve been hand written in
biro in the pub and delivered by barefoot
urchin, uncorrected and smeared with jam, to
the horrified printer. Puckoon was his first
attempt at a ‘novel’, although actually, like
If you think his lyrics are baffling nonsense,
you won’t appreciate this, but his childlike
wonder for the pure musicality of words has
been an inspiration to me for most of my life
(as has his dress sense, unfortunately):
13
‘Liberty’ Riot of 1780. The book describes, in a
chilling parallel with current media coverage of
the war in Iraq, the way in which, through a
process of literary misinformation, the
significance of the riot has been rubbed out
from history.
most of his work, it is totally uncategorisable.
Sad, funny and a work of genius. The book is a
world in itself in which the reader somehow
disappears:
‘Legs? Legs? Whose legs?’
‘Yours.’
‘Mine? Who are you?
‘The Author’
Author? Author? Did you write these legs?
‘Yes.’
‘Well I don’t like dem. I don’t like ‘em at all.
I could ha’ writted better legs meself. Did you
write your legs?
‘No’
‘Ahhh. Sooo! You got someone else to write
your legs, someone who’s a good leg writer
and den you write this pair of crappy old legs
for me, well mister, it’s not good enough.’
‘I’ll try to develop them with the plot.’
It begins with a quote from William Blake, a
notable witness to the rioting:
“Nothing can be more contemptible than to
believe public records to be true.”
How is it that we are not taught in school about
“ the largest civil commotion in England since
the Monmouth rebellion;…more people were
killed or executed than during the Luddite
outbreaks, the Reform struggle, or the various
Chartist episodes.”?
Nevertheless, this is no mere conspiracy theory.
It is beautifully written in the author’s
inimitably passionate style. Like all the other
books in this list it is another world into which
we are inextricably drawn. It is also definitely
not, either in style or construction, like any
other history book written by a historian, that I
have ever read.
A seminal work filled with dangerous ideas,
owning the book gave me a chilling sense of
being watched. I lent this copy to a friend
studying Criminology at Hull University.
Two weeks later her flat was burned down.
She managed to rescue it, miraculously; one of
her few possessions not totally obliterated…
It nestles, charred and damp stained on my
shelf; a monument to the truth that can’t be
burned.
The Great Liberty Riot of 1780
John Nicholson, Bozo press (1985)
John Bently is a genius as yet unrecognised by
the world at large. Once his museum is
complete the world will know. He is currently
applying weekly for lottery funding to start the
building work, but as yet his numbers have not
come up...Liver & Lights will celebrate 20 years
of prodigious obscurity next year…
Like Malice Aforethought Press, I met John
Nicholson at the inaugural Small Press Fair
at the Conway Hall in 1986, not long after this
book’s publication. In great detail, it
reconstructs the events surrounding ‘one of the
greatest moments in our history’- the great
14
Voyage into Matter: Four Mylar and Mirror Books Lesley Kaiser, artist’s collection, Auckland, 1990
Lei for George Westbrook Niki Hastings - McFall
(hymn-book, seeds) Auckland Museum;
Dowse Art Museum, Lower Hutt, 1997
together works from both New Zealand and
America, as have a number of other recent
‘Pacific rim’ art exhibitions.4 New Zealand may
now have radically shifted position from the
‘edge’ to the centre of the world (The World,
Pacific Centred, as my Bartholomew’s map of
2000 has it), and we may enjoy the benefits of
simultaneous co-existence in cyber-space with
other places, but transporting works of art from
them still involves negotiating the Pacific’s
‘encircling seas’.5 In paradoxical fashion it may
be precisely these two factors of ‘instant’ time
radicalizing communication, along with the
enduring problems associated with distance
(physical space) which have contributed to the
relative prominence here of this generally
smaller-scale form of art practice.
Memo: This is not an Artist’s Book: a New Zealand
Collection
Elizabeth Eastmond
A five hour drive south from Auckland in 1998,
towards Taranaki’s snow-tipped triangle, took
me to a gallery with six hundred and fifty
artists’ books.1 This extraordinary exhibition
came from Germany, with just some of the ‘B’s
including Beuys, Boltanski and Buren. Two
hundred and fifty were ‘hands-on’. With ‘never
any time’ in Auckland, it was necessary to steal
some. To steal some in order to lose myself in
some, some artist’s book-time: a time which is
also a place, structured by artists, with the book
in mind. In this exhibition as elsewhere narrow
definitions of ‘the artist’s book’ were redundant
and they also fail to apply to all the works in my
sampling here from New Zealand: hence the
‘memo’ in my essay’s title.
As elsewhere, the agendas originally informing
what were later called artists’ books have shifted
over the years: like installation art they are now
often part of the mainstream, if not partially
institutionalised. Tertiary and other institutions
have run courses in book-making, in ‘artists’
books’, (some in disk form only), and in history
of the book arts, from the 1980s, while paged
material accompanying exhibitions – sometimes
functioning as exhibits themselves - slither back
and forth confusing pedantic distinctions
between catalogue and artist’s book by both
replicating and resisting the catalogue’s
conventional codes. Memo: these in particular
are the slippery customers that lie behind my
essay title ‘this is not an artist’s book’.
That such a specialised touring exhibition,
covering thirty years of European artists’ books
generated considerable interest demonstrated
the extent to which New Zealand audiences
were familiar with this phenomenon. Hardly a
year has passed since the mid nineteen seventies without a local show or an offshore
import, with 1997 (when the six hundred and
fifty started touring) also featuring Paging the
Book, a major exhibition with forty-seven New
Zealand artists, and Unbound, curated as a small
but telling aside to accompany the German
show, its focus local book-related installation
works.2
Another shaping factor in the earlier years of
the New Zealand artists’ book movement was
the women’s movement of the 1970s and ‘80s.
In 1977 Joanna Paul organized the touring A
Season’s Diaries, the works exploring cultural
feminism’s concern for issues associated with
the ‘personal as political’.6 In fact, in New
Zealand, the convergence of an emergent type
of art practice (artists’ books) with a newly
politicised art community (feminist women
artists) resulted in a cluster of exhibitions of, or
related to, artists’ books, by women artists, as
well as exhibitions curated by women, from the
late 70s through the ‘80s. The Auckland
Association of Women Artists’ 1990 Cover to
Cover was the last of these gender-specific group
exhibitions.7
But it was American-generated rather than
European contacts and exhibitions that helped
nourish earlier stages of this country’s
contribution. A Duchamp exhibition in 1967
which included Green Box and Box in a Valise
presented possibilities, while Franklin Furnace
books showed in 1978, a Rusha exhibition with
a full complement of his books the same year,
and a 1978-9 touring show of one hundred and
eleven artists’ works curated by Jacki Apple
included, of the ‘A’s this time, Acconci,
Anderson and Aycock.3 By 1990 in a significant
shift in curatorial practice Judith Hoffberg of
Umbrella curated Cross<+>Currents: Bookworks
from the Edge of the Pacific, which profiled
17
Paul’s Unwrapping the Body from 1977, drawing
together a woman’s personal experiences with
conceptual art-related practices, remains a
significant early contribution. Its format,
requiring unpacking the wrappers, operated as
a metaphor for its theme, the examination of
the dead body of the child. Bleak photographic
images accompanied text obsessively naming
parts of the body with associated terms ‘head
…caput… cup’, the cool pseudo-scientific style
intensifying if anything the horror of the
subject-matter. Like other such projects here
and elsewhere, the book also operated in
conjunction with an installation and performance, so providing both a counterpart to and a
record of an event.8
construction of a pakeha (a New Zealander of
European descent) national identity from the
1930’s to the 1970’s.
This lop-sided notion of ‘national identity’ has,
unsurprisingly, been critiqued on various
fronts. In particular it has been countered by
the tangata whenua: Maori artists, in work
which explores tribal identity, which
foregrounds issues around colonisation, the loss
of ancestral land, of language. In Jacqueline
Fraser’s Pakurangarahihi, The Martyrdom of Pigeon
Mountain, the artist (of Kai Tahu, Kati Mamoe
descent) uses the book format to rhythmically
interleave drawings of green fern fronds on
transparent pages which appear to gently fall
across, caress, photographs of her life-size wire
figures representing those lost in the
suburbanisation, the ‘mutilation’, of this sacred
mountain. As linear sculptures the figures
appear as fine line drawings on the pages of the
book above the accompanying text in Maori
and English. The central double-page spread’s
verso reads ‘Ko tenei te tangi o te Iwi Maori’, its
recto ‘This is the lament of Maori people’.
Unwrapping the Body
Joanna Paul, Progress Print, Dunedin, 1977
Two women artists and artist’s book makers
curated another notable two-country exhibition
in 1985.9 In conjunction with ANZART (a once
regular series of Australian and New Zealand
artists’ exhibitions/conferences), it involved
well over one hundred artists. Looking back at
my review of it – nearly a generation on – I see
something of my taste at the time: a resistance
to a number of overly precious, highly crafted
objects, a preference for ‘hyper’ sculptural
pieces if the sculptural was the tendency being
explored, and a decided liking for a small, conventionally formed cheque-book sized book
called Blazing Shoes, cover by Drunk Persons,
published by Open Dammit Books.10
Pakurangarahihi, The Martyrdom of Pigeon Mountain
Jacqueline Fraser, Fisher Gallery, Pakuranga, 1997
limited edition of 200
Colonisation is also clearly the theme in Niki
Hastings-McFall’s Lei for George Westbrook (see
image on page 16). Here the lei, the Pacific
Islands peoples’ traditional expression of
welcome, the gift of a necklace of fragrant
frangipani, or other flowers, is formed instead
by the pages of a hymn book. In the method of
its construction - the fragmentation and so
destruction and transformation of the book –
this ‘gift’ signifies the refusal and return of the
oppressive teaching of the missionaries. By no
means a book, but certainly a book at the
hands of an artist, an ‘artist’s book’.
Also from that exhibition was Jeff Thompson’s
amusing documentation piece Mail Boxes 198285. It recorded this artist’s roadside art project
involving constructing corrugated-iron
sculptures of sheep for rural letterboxes. This
project both celebrated and, paradoxically,
parodied a significant strand of New Zealand
art practice: Regionalism, a largely landscape based practice, a vital component of the
While the notion of exile within one’s own land
characterises work by some indigenous artists,
18
dating a certain Bed), arranged rooms of wonky
tables, made catalogues which double as
‘artists’ books’ complete with fishy interviews
with the artist…and produced an almost straight
catalogue for the wonky table exhibition,
except for that scungy, masking tape binding,
the one effectively perverse sign of the artist’s
hand.12
other artists have used the book format in
relation to other notions of exile and its
accompanying experiences of dislocation and
pain. Page by crackling page Gail Haffern’s
The Book of Exile investigates connections
between the narratives of loss and of quest of
the tribes of Israel, in dialogue with quotations
from feminist texts on identity and absence.11
The surface of her Mappa Exsilium, with its
usage of Biblical exile narratives, is formed by
curling, turning, persimmon-scented pages,
metaphors of irrevocable shifts in time and
place. Like Hastings-McFall’s work, this may not
be an artist’s book in the sense of being able to
leaf through it, but nevertheless a work
thoroughly informed by the book.
Selected Writings Br-mf and P. Mule, exhibited in
Gaining Interest, Artspace, Auckland, 2001
The addition gives each copy the oxymoronic
state of being at the same time multiple and
unique. These artists can ‘tamper’ with earlier
works – intervene and alter – as part of their
practice, something of a challenge to librarians,
booksellers and collectors. But a not
inappropriate act, perhaps, in relation to the
arts of the book. For books of course have
attracted numerous interventionist acts.
Mappa Exsilium Gail Haffern (persimmon paper, mixed
media) private collection, Auckland 1992
Other New Zealand artists have investigated
other possibilities of an architecture of the
book: Lesley Kaiser has made superbly
constructed kinetic, revolving books. Her
Voyage into Matter, Four Mylar and Mirror Books,
1990, allied scientific theory and the naming of
quarks with impeccably intricate engineering
(see image on page 16), while a number of
artists, Haffern, Violet Faigan, Patrick Pound
among them, have produced complex largescale book-related installations.
Work in artist’s book-related format can be
seamlessly integrated with other aspects of
artists’ work. A ‘centre of artistic production’
known by various names: et al, Lillian Budd,
Popular Productions, P. Mule, J. (Arthur) Craig
and Sons, (among them), have made films,
designed billboards, inscribed texts on blinds,
displayed altered, unopenable books as part of
installations, made one-off and multiple artists’
books, painted a book-like daybed opening to
reveal maggots, title Selected Writings, (pre-
Arguments for immortality, et al, catalogue cover design for
the exhibition abnormal mass delusions? Govett-Brewster Art
Gallery, New Plymouth, 2003
The catalogue cover (shown above) for an
upcoming major survey exhibition by these
artists may well not be quite as it is now at the
time of printing next week, and as it will appear
19
book-works through his Workshop Press.
A number of these involve other artists and
writers. Although apparently straightforward in
format – again no self-consciously ‘artists’ books
‘ these – they continue to play out seemingly
endless subtle variants of the book. One may
work with a pre-existing text by a writer, with
arrangement and images by the artist, as in
Voyage,13 another may be a visual collaboration
with another artist as in Knot (John Reynolds)
(below), while another sequences a mock narrative on rent-book pages (Walk the Black
Dog).14
later in the year. Although careful perusal may
well reveal that even now all is not what it
might seem. Not an artist’s book, yet, it is only
the ‘cover’, and, in the illustration only the
design for it. But the chances are it is in danger
of becoming a ‘cover’ for one.
In common with other countries, artists’ books
produced in New Zealand have lent themselves
particularly productively to collaborations
between artists and other artists, artists and
writers. The artists Bill Culbert (resident in
Britain) and Ralph Hotere (Dunedin), for
instance, produced a catalogue-cum-artists’
book with poet Bill Manhire: Fault. In a
beautifully simple booklet format, texts by
Manhire on the theme ‘fault’ and on this
‘Fault’ frame the centrefold, a dramatic doublepage spread photograph of the visual work
‘Fault’. This consisted of two neon ‘fault’ lines
threading diagonally up across the blackened
windows of the façade of the City Gallery in
Wellington (a capital city founded on a
geological faultline). The central double spread
displays the effectiveness of the work’s uniting
two key concerns of these two artists: Hotere’s
use of black and the blackened window,
Culbert’s use of neon and other lighting
techniques.
Knot Richard Killeen and John Reynolds,
Workshop Press, Auckland, 1994, limited edition of 200
Fault Bill Culbert and Ralph Hotere,
Wellington City Council, 1994
Objects and Images from the Cult of the Hook
(a ‘fully referenced study’) parodies the systems
of identification and classification endemic to
academic archaeology in almost convincing
fashion.15 Closer to the livre d’artiste is The
Presence of the Dew (see opposite page). It
comprises an academic’s short scholarly essay
on the cultural significance of dew for Maori,
and it includes haunting tangi waiata (laments).
Designed and printed by the artist, the texts are
effectively accompanied by his crisply eloquent
choice of images. Another book is totally
dependent on an earlier production – but
critically different. The ‘ground’ for the later
work is a Workshop Press-produced catalogue
to an exhibition of the artist’s cutouts, titled
The unassuming booklet format of this work is
echoed in expatriate artist Alexis Hunter’s selfpublished, ring-bound Full of Sweet Dissolution
(see opposite page). Quotations from various
historical poets, Virgil, Dickenson, Keats – the
latter the source for the title - are placed on
recto pages to accompany the artist’s versos of
‘The Drinkers Series Drawings’ (of inhabitants
of the land of ‘El Blotto’), in a whimsical and
tongue-in-cheek take on ‘the artist’s book’.
Richard Killeen, a prominent New Zealand
artist known for his ‘cutouts’, (multi-part wall
pieces), has also produced numerous ingenious
20
Full of Sweet Dissolution Alexis Hunter, The Drinkers Series Drawings, London, 2002, 1st edition of 30
The Presence of the Dew Margaret Orbell (text) and Richard Killeen (images) Workshop Press, Auckland, 1996
of the book’s cover as the outside of the package of ‘pages’ – photographed double-pages –
from the book she retained from Form III.
The delicacy of the work is partly achieved by
the reduction in scale from the original and it
nicely matches their intimate secretions: pages
with little tufts of hair, collaged pictures of
saints. It is an autobiographical work delving
into childhood memories, which while directly
based on a book, is not one. But it is of course
an ‘artist’s book’. Tom Kreisler’s Private and
Confidential also is and is not what it appears,
with its ‘ready-made’ plastic ‘Note Pad’ cover
(see opposite page). It also explores the
viewer’s curiosity regarding the ‘secrets’
concealed within the ‘book’, here the ‘secrets’
of an artist’s mind at work in his notebook, the
general concept reminiscent of Oldenburg’s
Notes in Hand. But Kreisler’s photographed
pages of pages are concerned with the playful
layerings of meanings possible through
combining these with surprising additions, all
within the tacky plastic cover. Not quite a
reproduction of a notebook, so it must be that
something else, then. Something private,
confidential…and available to the public in
multiple copies.
Sampler, with an essay by art historian Francis
Pound.16 Copies are used (eight years later) to
accompany an exhibition of mainly earlier,
figurative, work by the artist.17 By applying
labels over the ‘original’ title, photographic
labels over the ‘original’ illustrations, and
running a new text on labels over the earlier
text – while leaving some of Pound’s text as a
kind of frame around the new essay –
productive cross-references emerge, and
conventional notions of the artist’s
‘development’ and of time are challenged. The
particular way this artist can use the archives of
his own practice (and its criticism) as fertile
ground for his current practice are particularly
cleverly exposed and further constructed in the
form of the book itself. A ‘catalogue’ – of
what, when, and which works, exactly? The
ingredients of two exhibitions of work
produced at different times are all there, in the
‘same place’, ‘at the same time,’ even if some
is only partly visible: a particularly provocative
conflation – and confusion - of catalogue and
‘artist’s book’.
So understated it’s easy to overlook is Julian
Dashper’s small, grey, simply titled Reviews.18
It contains twenty-seven reviews of solo shows of
this (internationally exhibiting) neo-conceptualist artist’s work from 1981 – 2001. The reviews
are all by the same critic. They are all pretty
negative. Some very. ‘The objects in the
Dashper exhibition are blindingly dull.’ They
make for hilarious reading. Not an artist’s
book? But, as a collection published by the
artist, together, in book form, they shift the
writing from its original, occasional, newspaper
context into a domain which has the effect of
productively interrogating the role of the critic,
and exposing the role of this particular critic in
relation to a strand of recent New Zealand art
practice. So framed by the artist, this little book
of rather poor critical writing, becomes,
ironically, a rather good…artist’s book. What
else?
Also apparently not an artist’s book is Megan
Jenkinson’s hardback Under The Aegis, The
Virtues. In conventional academic format, here
is a book of scholarly essays by various writers,
Marina Warner among them, on the theme of
the Virtues in western art, with illustrations.19
Under The Aegis
Megan Jenkinson, Fortuna Press, Auckland, 1997
Yes, superbly produced, but what makes it
appropriate to this essay? A number of factors,
as the reader may guess. Firstly the
‘illustrations’ in the centre of the book. These
constitute forty pairs of images, forty double page spreads. They are taken from an
exhibition of the same name.
That things are not quite what they seem is
almost an axiom of some artists’ books.
At first glance A Little Book of Relics teases, it
seems just like itself: a child’s school exercise
book, opened out flat (see opposite page).
Anne Noble, better known for her photographs
of places and people, uses here a photograph
22
A Little Book of Relics Anne Noble, Brat Press, Wellington, 1998, limited edition of 250
Note Pad, Private and Confidential Tom Kreisler and Company Ltd., Waikato Museum of Art and History, Hamilton, 2000
effective reminder of this land’s intertwined,
but also different and often conflicting
histories. If Aotearoa (New Zealand) is a book,
it is still formatted in terms of unequal power
sharing, as is proclaimed in the different scales
used and the resulting dynamic tellingly
constructed in this double-page spread.
But in the context of the book, what had been
in the gallery a vertical pairing is now
transformed by its book arts context into the
different dynamic exposed by a series of double
page-spreads, with additional texts in Latin.
The photographs and texts are not illustrations
of, they are the work. And the essays on either
side of the images? Each was commissioned by
the artist, who also selected the editor, and
designed the whole project, including of course
the cover. The book was also self-published.
And, over many ‘lunch’ times, it could be
added, packaged and self-distributed. What
could be more of an artist’s book? While
looking so properly like…an art history book?
and
And? And artists’ pages. Not artists’ books.
Although pages are their bottom line, they
power them. As with book-related installations,
there are simply too many artists’ pages to
include in this brief essay. They flourished
particularly in a cluster of ‘little’ magazines
(not all little) in the ’80s and ’90s: Monica,
Midwest, Splash, ANTIC, AND…and they
continue to settle into, and unsettle, and sprawl
through, various contexts. Page power.
A book published in March 2003 brings my
essay to a close. Power, by Patrick Reynolds
wholly confounds those early agendas of the
artist’s book movement. Knowingly.
Just a second for one, ‘though: a blank page,
paginated only, in AND, among ninety-three
densely packed pages of poetry and criticism.20
All black and white. That is except for pp. 47-8.
It is pink. The table of contents lists it as Gift. A
breathing-space. A pause. A moment in time.
Power Patrick Reynolds, Waikato Museum, Hamilton, 2003
Power is very big, its cover seriously black.
It appeared in a prestigious gallery, and was
funded by a major energy company: Mighty
River Power. Its dramatic black and white
photographs (some 500mm x 500mm) show
parts of the power station constructions, their
poles, turbine halls and pipelines, within
regional, largely primaeval, landscapes. Quite
appropriate for the board of directors. And
yet… it is an artist’s book, in its concept and
layout. Accompanied by critical essays and
poets’ writings, both offshore (Eliot) and local
(Leigh Davis), with its first nation’s landscapes
and its first world industry, the project inhabits,
in a sense, a world of global regionalism.
Elizabeth Eastmond lectures in Art History at the
the University of Auckland, New Zealand,
teaching papers on women artists, the book
arts, and self-portraiture and identity
construction in New Zealand art. She has
published on Frances Hodgkins, New Zealand
women artists, and on medieval illuminated
books in New Zealand collections.
Exhibition curation includes:
Alexis Hunter: Fears / Dreams / Desires, and
Landscape / Painting, Landscape / Writing: Frances
Hodgkins's Late Landscapes.
She was co-editor of the journal ANTIC.
On the double-page spread illustrated you can
see the watchful presence of a Maori ancestor
carving staring across the gutter of the book at
the Mokai pipelines. The image serves as an
24
notes
11. Gail Haffern, The Book of Exile, 1992, Elam
School of Fine Arts Library, University of
Auckland.
12. Et al, simultaneous invalidations, second
attempt, text Jonathan Bywater, editors Robert
Leonard and Stella Brennan, designers Maria
Wall and et al, Artspace, Auckland, 2001.
1. Artists’ Books, An Exhibition in Ten Chapters,
curator Dr. Michael Glasmeier, Govett-Brewster
Art Gallery, New Plymouth, 1998; City Gallery,
Wellington and The Fisher Gallery, Pakuranga,
1997.
13. Francis Pound and Richard Killeen, Voyage,
1989, Workshop Press, Auckland, limited
edition of 100.
2. Paging the Book, Lopdell House Gallery,
Titirangi, 1997, curator Kate Darrow; Unbound,
The Fisher Art Gallery, Pakuranga, curators
Rhoda Fowler and Rebecca Lal.
14. Richard Killeen, Walk the Black Dog,
Workshop Press, Auckland, and Peter McLeavey
Gallery, Wellington, 1997, limited edition of 50.
3. Marcel Duchamp, the Mary Sisler Collection,
78 works 1904-1963, Auckland City Art Gallery,
1967; Graphic Works by Edward Ruscha, curator
Andrew Bogle, Auckland City Art Gallery, 1978;
Artists’ Books, Franklin Furnace, New York,
curator Wystan Curnow, 1978; Artists’ Books,
touring, curator Jacqui Apple 1978-9.
15. C.M.Beadnell, Objects and Images from The
Cult of the Hook, Papers of the Hook Museum,
foreword Richard Killeen, Vol. 38, No. 2,
second ed., 1999, Workshop Press, Auckland,
limited edition of 100.
4. Cross<+>Currents: Book works from the Edge of the
Pacific, University of California, Santa Barbara,
curator Judith Hoffberg, 1990.
16. Richard Killeen Sampler 1967-1990, essay
Francis Pound, Workshop Press, Auckland,
1990.
5. M.H.Holcroft, Encircling Seas, Caxton Press,
Christchurch, 1946.
17. Richard Killeen Interiors, Paintings 1968-1969,
essay Anna Miles, Workshop Press, Auckland,
limited edition of 100.
6. A Season’s Diaries, curator Joanna Paul,
Victoria University Library; University of
Waikato; Christchurch Society of Arts, 1977-8.
18. Julian Dashper, Reviews, Art School Press,
University of Auckland at Manukau Institute of
Technology, 2001.
7. Outreach, Auckland, curators Elizabeth
Serjeant, Claudia Pond Eyley.
19. Megan Jenkinson, The Virtues, Under the
Aegis, ed. Peter Shand, essays: Marina Warner,
Elizabeth Eastmond, Dougal Blythe & Tom
Stevenson, Marcus Wilson, Denis L. Drysdall,
Laurence Simmons, Fortuna Press, Auckland,
1997.
8. Of several other artists’ books relating to
performances, one of the earliest is Bruce
Barber’s: On the Stocks, Auckland City Art
Gallery, 1975.
9. ANZART – Artists’ Books, curators Carole
Shepheard, Christine Hellyar, Auckland City
Art Gallery, 1985.
20. Billy Apple and Wystan Curnow, Gift,
AND/2, eds. Alex Calder and Leigh Davis,
English Dept., University of Auckland,
February 1984, pp. 47-8.
10. Elizabeth Eastmond, ‘ANZART ’85 Artists’
Books Show, Auckland City Art Gallery’,
ARTLINK 5, 3+4, August – September 1985, pp.
15-16. Blazing Shoes by Ken Bolton, Adelaide,
limited edition 200.
25
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And Rose Rose Possibly Script? Arabic Illegible'
The 101 titles of The Books, 1999
The Battle of The Books
respectively removed from each book prior to
shredding and rebound into two separate
volumes.
TNWK
Sarah Bodman
The 101 books had been collected by the two
individuals of TNWK over the years, kept as
items that may be useful for future inspiration
(but which had ultimately not been) and then
supplemented by purchases from charity shops
to build the books up to the required amount
for the project. The books do not seem to have
been selected as a review of the century or to
be representative of any particular cross-section
of publishing history, they were simply books
that had been classified as not worth keeping
by their previous owners, or by TNWK
themselves.
Scenes from the installation at Utrecht Theatre
School show the two new books sitting on a
classroom table, surrounded by the tiny
haystack heaps of the remaining shredded
pages which grew as the 101 books went
through the portable shredding machine.
The blackboard is full of text; the titles from
the 101 books, reworked into a vast and all
encompassing “shre(a)d(d)ing” title for the new
work. As the heaps of individually shredded
books started to fill the floor TNWK noticed
that they had become distinguishable through
differences in the paper, images and type. The
shre(a)d(d)ing title also played in the classroom
as a vocal version of the title text spoken by the
built in SimpleText™ voices on their Macintosh
laptop. In the final stages, the shredded pages
are mixed together and bagged, the dust from
the books is collected up into a jar, the blackboard is cleaned and the whole ensemble is
ready for transit and the next “occurrence.”
101 discarded books have been used as the
starting point for a series of evocative and
complex works giving a new purpose to the
unwanted and unvalued, The Books have been
shaped by Kirsten Lavers and Cris Cheek, two
artists / writers /collaborators, working
collectively as TNWK. The Books as a series of
“occurrences,” reappear, change, are added to
and subtracted from; they are a chameleon and
-you get the feeling- an obsession. Sometimes it
is hard to know who is controlling their
transformation and subsequent appearances, is
it TNWK or is it The Books themselves? Their all
consuming spirit, the coincidences where they
just happen to fit the requirements, it is as if
the 101 books have conspired amongst
themselves to be reborn as singular entity: a
one-off gathering of the unwanted has amassed
the life force of the phoenix, forever able to
return, and each time it is in a new and
vigorous form. The Books are not a simple
repetition of the same artwork, they are the
source of an ever mutating, reflective and
reactionary collaborative force inspired by
language and most importantly by discourse
(and this collaborative force can be read as
between TNWK and the books, not solely
between TNWK as individuals).
In March 2000 the books regroup at Dartington
Arts Gallery where fine tapers from some of the
shredded pages are woven into a Retrospective
Screen. The screen combines the visual and
verbal; shreds from the books interspersed with
cut shreds from reels of film. The warp consists
of (amongst others) Fantasia, Taste the Blood of
Dracula and a Kung Fu Movie, interwoven with
the weft of the shredded pages. TNWK were
concurrently weaving, reading and writing with
texts from The Books, instructions and messages
to each other and random snippets of conversations between TNWK and gallery visitors that
The Books (as we the viewers have come to
recognise them) first appeared in public in
1999, as an installation in a theatre school
classroom in Utrecht where they were shredded
and bagged, with pages 99-100 and 101-102
27
were added, coded, reworked and projected.
Film and paper became one screen for the
projection of the day’s writing as the weaving
continued.
Dock 11 of the event’s hosts, and so 11 places
in each of the two books (99-100 and 100-102)
were book-marked with the intention of making
a work that would reunite the two disparate
books. By chance (or was it more than that?)
the random selections included texts on
Germany, the Holocaust and the fall of the
Berlin Wall, the texts were formatted into
fly-posters with images taken from each of the
sites of the recorded readings and flyposted
around the streets of Berlin.
As the screen was woven over a ten-day period,
the edition of the Scrap Books One Hundred
evolved from the scraps of shredded pages that
fell to the floor. The shreds were bagged up
from the gallery floor with an ISBN to be sold
as a limited edition of 100. When I first saw
these bags on the TNWK stand at the Artist’s
Book Fair at the Barbican in 2001, they all
looked so beautiful with their random scraps of
texts and colours that I couldn’t decide which
one I liked most and ended up buying six.
I gave some of them away later and I wonder
how many other things have also come about
from just that one instance of a chain reaction
to the books. If you look at the contents of any
of the bags, different slices of shredded text
pop out, like some kind of readymade Dada
poetry; if all the shreds from each of the bags
were assembled into more books, imagine how
many Babelesque texts would evolve.
The books also contributed to the event /
installation OURNOVEL24HRS at Norwich
Gallery in April 2000, and were used as acrostic
text sources for The Enduring Freedoms Mystik
Writing Pad, published in November 2001 and
named after the Pentagon’s “Enduring
Freedom” mission in Afghanistan.
Pages from the books were also used as sources
for a series of riddles written for text, a
residency in Exeter in May 2002. The riddles
were the response to the Anglo Saxon riddle
book held in the Cathedral, the book has worn
away over the years with some 20 of the riddles
now unreadable and therefore indecipherable.
TNWK created a new series of riddles, each
referencing site-specific clues within the town,
although having written 19 they left one riddle
missing. The riddles and visual clues can be
viewed via the TNWK website, or at the direct
site: www.missingriddles.co.uk
Missing Riddle No. 78 also appears (with one
other) in a slightly different fashion in Book 2:
The Legacy:
“The construction is simple strong and
convenient.
I am two in one and one in two; the first and
the second mostly. Scratch my face, I am
already part of a collection fed by hands.
Scrap Books One Hundred TNWK, 2000
My number is unlucky, my day never ends.
The Liminal Institute, Berlin, 2000 (for “Acts of
Language”) Doc 1-1; fragments from the
discarded appear in another guise. This time,
eleven pages from the books were reunited in
live (recorded) readings in eleven sites across
Berlin. The Doc 1-1 title was inspired by the
I’m full of seals but remain unsealed. I have a
red body and flat black feet thought to
symbolise the whole.
What am I ?”
28
(and minds) of TNWK. The next incarnation
appeared on 13th April 2002 with the first issue
of the subscription series titled The Books. Each
instalment is presented in the same format;
20 x 20 cms, with a plain white cover and the
title: The Books, nothing is given away until you
read on.
As the books continued their transformations,
the Millennium Collection also accumulated.
TNWK invited 1,000 people to contribute an
item to the collection and the reason for it
being not worth keeping. The contributions
formed the basis of a touring exhibition Not for
Sale that travelled around various car boot sales
in the UK by London Taxi Cab, before
completing the journey at The End of The Line
where the items were exhibited in a skip
outside the Platform Gallery in London from
21st - 31st May 2001. Once the skip had been
unveiled, the next five days were continually
recorded on CCTV as items were dispersed or
added to the collection by visitors or passers by,
up until the last day when the skip was driven
to the local tip and the contents disappeared
into the ether of London’s debris.
Reading The Books is the visual equivalent of
stepping into a library and hearing each book
give you a line from its text – all at the same
time, some shouting, some whispering. Some
things can be read instantly, others take a little
while as the text pieces overlap and intersperse
themselves through the pages. The texts within
the books are live discussion pieces, streams of
consciousness pouring out from single starting
points, and reading through these is similar to
eavesdropping on someone else’s conversation.
A blow-by-blow analysis of The Books could be an
impossible task, 101 individual stories, each
from the unwanted have transformed into a
new engagement and conversation with others.
One entry from the Millennium Collection, TNWK, 1999
The physical record of the Millennium Collection
is a publication of the 160 page, catalogued
selection of items submitted and the reasons
for their inclusion. Some of the submissions
and their reasons for being not worth keeping
include: “a small, bird shaped plastic whistle
(which does not whistle)” “an old key (no idea
what it opens)” “one Barbie shoe measuring
30.5 mm (it is too poignant a reminder of the
loss of the other)” “a five pence piece (useless
for a phone box call, buys nothing)” “a Free
Nelson Mandela badge (because he is free)”
and my favourite entry; “a Space Pen (it is
heavy, hard to grip…a pencil would be more
convenient. It is also unlikely we’re going to
space, or need to write with it underwater).”
Images of submitted items can also be viewed
via the Millennium Collection link at the TNWK
website.
Detail from: Book One: The Gathering, TNWK, 2002
Book One: The Gathering this time we go back to
the beginning, the books have been “read,” the
images and text from all the appearances to
date are reappraised, the discussions have
explored all of this and more; the pact is sealed
and the story begins to unfold anew.
This is more than a documentation of how
The Books came to be; this is the start of their
united, translated voice about to be heard, the
first whisperings of a battle of Frankenstein
with the minds of their new creators.
All of the events inspired by and developed
from the books demonstrate the infinite
possibilities of their interpretation at the hands
29
Book 2: The Legacy continues onward from the
meeting (of the books and the pact of TNWK)
in The Gathering, and moves on to their first
appearance in the classroom in Utrecht,
covering the aforepromised: “Anyway there’s a
nasty surprise coming, followed by a reversal of
fortune.” The nasty suprise of an unproven
“suicide” verdict of the shredded books in the
empty classroom is duly investigated.
codex or manuscript that has lain dormant,
waiting for centuries and now appears, out of
the darkest void, ready for its moment of
glorious recognition. This book is the visual tale
of the books’ transformation and resurrection
as everything goes in, like the Ark, two by two.
The Books are only a third of the way through
their odyssey, as TNWK have written in Book 3;
“The Books are critical, borne away by waves
and wind, lost in darkness and distance, they
shape us by the resistance they offer when we
try to impose our form on them.”
Each page merges visual and written references
to ideas and places mentioned within the
original shredded texts, The Books are retelling
(or reinventing now that they have a new lease
of life) their own history as the monolith
shapes itself from the shreds of the discarded.
The will of The Books versus the will of TNWK,
which of the two will triumph in the battle to
impose their will upon the other is hard to
predict, all we can do is be ready and waiting by
the letterbox to find out what happens in the
next instalment.
Nurse Trash’s private diary entry from Book 2: The Legacy
TNWK, 2002
The narrator, Nurse Trash tries to solve the
suicide riddle only to realise, as she tracks the
shredded texts down, breathlessly searching for
pages 99-102, that they have already been
packaged up and posted back to England for
their reversal of fortune, a rebirth in another
guise. At the end of The Legacy the text reads:
“Writing in the words of Lord Byron, ‘when
shall we three meet again?’ We leave until the
next chapter the question of control (led
experiment). The show as they say has to go
on.”
TNWK have an extensive website with detailed
documentation of their work in relation to
The Books and other ongoing projects at:
www.tnwk.net
We three: is it (the two of) TNWK and The
Books or is it TNWK, The Books and the reader?
I am inclined towards the former, and would
like to imagine that it is The Books that are
asking TNWK this question.
For further information, or to subscribe to
The Books (including back issues) email:
thebooks@tnwk.net
Book 3: The Double Binding the two siblings arise,
these two are the new books 99 - 100 and 101 102, each made from the correspondingly
numbered pages of the 101 abandoned books.
The “shre(a)d(d)ing” title appears once more on
page 9, this time in the guise of an ancient
The Millennium Collection, Scrap Books One
Hundred and The Enduring Freedoms Mystik
Writing Pad are all available to order, see the
listings section for contact details.
30
Detail: Book 3: The Double Binding TNWK, 2003
White Trash Cooking Ernest Matthew Mickler,
Ten Speed Press, 1986
Love Karen Reimer (writing as Eve Rhymer)
Sara Ranchouse Publishing, 1996
White Trash Cooking Ernest Matthew Mickler, Ten Speed Press, 1986
“ninth nipped nipping nipple nipple nipple
nipple, nipples nipples nipples nipples nipples,
No No No No No -”
Some Reformations
Susan Johanknecht
There are six full pages of the word ‘and’. We
can deduce the heroine is called ‘Anastasia’ as
this covers five pages, there are seven pages of
‘her’ and nine of ‘the’. We are led to question
how words as units relate to the novel as a
whole, and notice how limited the vocabulary
actually is. Knowledge of the genre informs our
understanding and enjoyment of this artist’s
book, which in turn operates as a literal
deconstruction of the Romance.
The reforming of existing material and
structures is a strategy I would like to look at in
relation to some artists’ books. In particular,
how when a given context is changed,
subverted or deconstructed, new meaning /
readings arise which still retain an aura of
(or tension with) their sources. Just as a poet
might ‘write into’ an existing text, artists can
work into existing book formats. This process
engages with a reader’s expectations and
understandings of cultural codes. Examples
from my book shelf revealed a reformed
romance, cookbook, trade manual, church
pamphlet, school notebook, and philosophical
essay. I found reformed visual and textual material where a single image was expanded into a
sequence, sound transcribed into words, text
taken from found objects.
Sara Ranchouse is in a sense a reformed
publishing house, publishing artist’s book:
Westerns, Adventure & Mystery series, as well as
Romances and magazines, all made to look like
the ‘real’ thing. Sally Alatalo’s attention to
detail, in production values which exactly
mimic the look of familiar genres, is necessary
to successfully put across the analysis, humour,
and critical edge of these publications.
Another reformed format is White Trash Cooking
by Ernest Matthew Mickler published by Ten
Speed Press in 1986. I purchased this book
from a stand in a Birmingham, Alabama airport
shop, where it was perfectly and subversively
camouflaged among other cookbooks. The
same size, spiral binding, layout, and paper as
the others but different. Its recipes use
ingredients such as Oleo & Crisco, processed
cheese, condensed milk, Jello, and Reddi whip.
Below the individual recipes are comments
such as: ‘Mammy said: “If you got a yappin’ dog
or a hungry man this ought to shut’um up.”
Is this one even a recipe? “High Calorie pickme-up: ‘Pour a small bag of Tom’s peanuts into
a cold Pepsi. Turn it up and eat and drink at
the same time.”
Love Karen Reimer (writing as Eve Rhymer)
Sara Ranchouse Publishing, 1996
Love by Karen Reimer writing as Eve Rhymer
(Sara Ranchouse Publishing, 1996) is a
reformed romance. ‘Legendary, lexical and
loquacious’, this is ‘an adult romance for the
post structuralist woman’ the book jacket tells
us. The size of this book, the papers used, and
the design, all conform to those of a cheap
paperback romance. Which is what you expect
when you first pick this book up. Inside, it is
organised into 25 chapters, one for each letter
of the alphabet except ‘x’. Rhymer has taken all
the words out of an actual romance and
reordered them alphabetically. The plot is
irrelevant because we know it, or can guess it.
What we are given is the visual texture of words
on pages, or a text as sound poem.
Yet there are recipes in this book I remember
being taught in my (northern) American high
school home economics class, such as apple pie
made without apples. Mickler is working from a
base of cultural/culinary reality. In a sequence
of photographs at the centre of the book he
creates a visual narrative of place and poverty
in the rural South; dilapidated sheds,
unrecognisable food frying, still-lives inside
the refrigerator, battered utensils on the
33
The ‘fig’ or ‘figure’ system of labelling was
commonly used in 18th & 19th century
scientific texts and museum displays. In the
1960’s & 1970’s Marcel Broodthaers assigned
objects in his films, installations and books, with
‘fig’ labels, foregrounding the idea of the
museum as an annotated and levelling
‘collection of the world’. He wrote about the
objects bearing ‘Fig.’ numbers as taking on
“an illustrative character referring to a kind of
novel about society.” 1
drainboard. This is a reformed cookbook of
food you wouldn’t want to eat, depicting
poverty and ignorance, haunted by the spectre
of the Klu Klux Klan and racist violence. It is a
(cook)book of social criticism finding a non-art
world audience through camouflage and a wide
distribution network.
Destructions published in 1995 by Melissa Price
and Sandy Suffield, appropriates the product
manual format, usually used to understand
technical functioning or to assemble flat pack
commodities, to deconstruct cultural
conventions. The title page tells us what the
book depicts:
“Samsonite Traveller Deluxe suitcase
(packed) laterally dissected into 13 sections
using a Midsaw S7016 bandsaw.”
The contents’ page lists what the suitcase held;
khaki wool socks, soap (in plastic bag), white
polyester shirt, pink cotton hankie, etc.
Destructions Melissa Price and Sandy Suffield, 1995
Price and Suffield’s cross-sections of suitcase
reference medical sectioning of animal or
human bodies, violence done for the purpose
of knowledge. The sliced objects in the suitcase
are visually transformed, made unrecognisable
by the tight packing and subsequent cutting.
Sliced rolled teeshirts resemble fat tissue,
shampoo bottles resemble bone, only a book
and camera retain their visual identity through
the sequence of dissection. Contexts and
emphasises for meaning shift with time, and by
2003, the surveillance system ‘readings’ of
luggage to reveal hidden weapons, and the
social acceptance of this visual slicing / loss of
privacy, takes precedence. The book ends with
a performative reference to the cutting process;
a photo of Bob Gammond, Mechanical
Engineering Technician, Imperial College,
standing beside his bandsaw ready for action.
The book, paginated fig.1 - fig. 26, shows
photographs of the sliced suitcase sections with
red diagrammatic lines and numbers which
refer back to the objects listed on the contents
page, prompting the reader to find out what
the grey textured areas represent.
The Half-Muffled Clappers by Tony Kemplen
1997, is the documentation of a more public
event. Kemplen taped the sounds of Lady
Diana’s funeral; the horse’s hooves, applause,
half-muffled bell clappers, and fed these
sounds into a computer voice recognition
programme. The text generated from this
non-verbal input is oddly coherent. Kemplen
writes:
Destructions Melissa Price and Sandy Suffield, 1995
34
Clappers has a sombre black frame on the cover
and pink paper inside. This simple structure,
two sheets of paper folded and stapled, has a
cheap, spontaneous look that references
pamphlets handed out in churches with text to
be read aloud, shifting it back into sound.
‘The computer ‘guesses’ at which word may be
being spoken, but each word is not taken in
isolation, the speech recognition engine has a
database of words which may occur in close
proximity, together with the probabilities of this
happening. The result then, is not quite a series
of random words, but of guesses taking into
account the chances of certain words coming
together. This of course is a culturally specific
database, and so seemingly meaningful phrases
occur quite frequently.’
Kemplen concludes, ‘Phrases such as “Amazon
vested illusion, fashioned fulsome person” and
“glistening home consumption commander”
are thrown up by the computer, programmed
to search for coherent juxtapositions of words,
using a lexicon reflecting society’s language use
at the end of the 20th century. The software
inadvertently critiques the society that spawned
it.’ 2
Left and below: The
Half-Muffled Clappers
Tony Kemplen, 1997
The Table Leaked It’s Object Tertia Longmire,
Magpie Press, 1998
The Table Leaks its Object by Tertia Longmire
(Magpie Press, 1998) documents different
social transcription. The title page/poem sets
out its contents:
‘transcriptions
from graffiti
found on
thirty
school examination desks
abandoned
in
south london
during
1996’
This book is printed on lined school paper and
stapled into a blue card cover like an exercise
book. Each page contains graffiti from one
desk. The justified text blocks have close line
spacing and little punctuation, visually
referencing claustrophobic school days and
class rooms. The 1970’s, ‘80s, and ‘90s are
intermixed with sex, pop star names, and exam
musing in equal measure, transcribed verbatim
into dense slang poetics.
Here sound is reformed into language and
poetry is created by a technological process
which ‘echoes’ the text generating systems of
Oulipo. This technology was also used by Aaron
Williamson in Hearing Things (Book Works,
2001) where speech-recognition software
translated the noises from Williamson’s
performances into text. The Half-Muffled
35
Ti Park’s books often utilise plain A4 paper
folded at the fore-edge, with the pierced holes
and binding cord of immaculately executed
stab bindings, functioning as tactile point and
line. This book can be handled like a flip book,
animating lines in time and space. The objectness of this book is in contrast with its origins
as a two dimensional image.
I imagine that the carved and graffitied
wooden desks are probably beautiful objects in
themselves, and that a gallery installation of
them would be quite a different statement
about school days than this book.
The Table Leaked It’s Object Tertia Longmire, 1998
Longmire’s title: The Table Leaks its Object locates
the writing itself as presence or object, away
from the physical desk. “Stop reading the table.
I was here but now I disappear. Stacy S. loves
Martin S. Rushna 4 Rohim Mohammed has a
buckhead Oasis Bitch Beware maths exam is
hard....” There is little nostalgia here.
From Kandinsky’s Drypoint Ti Parks, 1997
Reforming through an act of expansion shifts
to that of editing in Reality (1972) by Jaroslaw
Kozlowski. This is a reformed textual work
without the text, only its punctuation.
Dotted across each numbered page like
constellations on deep white space are
parentheses, semi-colons, quotation marks,
commas, and full stops.
From Kandinsky’s
Drypoint
Ti Parks, 1997
From Kandinsky’s Drypoint 1997 by Ti Parks, is
the expanded reformation of a two
dimensional image across the sequence of
twenty-four pages. Short lines in isolated
groupings are transcribed from a drypoint by
Kandinsky, as the title and colophon inform us.
As with Longmire’s abandoned school desks,
the reader must imagine or search out the
original which gave impetus this sequence, it
is not shown here. Lines are drawn with pencil
and the pages are bound by hand in a limited
edition of ten.
Reality Jaroslaw Kozlowski, 1972
36
Not until the end of the 24 page book, do you
find printed ‘Immanuel Kant “Critique of Pure
Reason” (II, I, II, III)’ indicating that this was
the text removed from its punctuation.
Susan Johanknecht is an artist and publisher
under the imprint of Gefn Press. She recently
co-curated the writing instructions / reading walls
project with Redell Olsen, for which there is a
forthcoming book. She is Subject Leader of the
MA Book Arts course at Camberwell College of
Arts, London.
In Eve Rhymer’s Love the alphabetised words
kept their punctuation, attached like decorative
accessories, even though function was lost in
the listing format. In ‘Reality’ empty white
space is punctuated, and the process of reading
is again questioned. Here the marks become
notation - a new text. Kozlowski’s work is within
the tradition of Polish conceptual artists whose
work utilises ‘poor’ or cheap materials to
distinguish itself from the more glossy ‘official’
art and government publications. The green
cover of my stapled copy of Reality has already
faded to yellow at the edges.
notes
1. Marcel Broodthaers as quoted in Dirk
Snauwaert ‘The Figures’ in Broodthaers:
Writings, Interviews, Photographs, Cambridge,
Mass: MIT Press, 1988, p. 129.
2. Tony Kemplen in a note to the author, 2001.
3. Walter Benjamin Illuminations, London:
Pimlico, 1999, p. 73.
Reality Jaroslaw Kozlowski, 1972
The loose theme of ‘reformations’ has been
an excuse to revisit some artists’ books on my
shelf. Considering that all content is reformed
and negotiated through the process of
becoming a book, it has also been an
opportunity to focus on strategies artists employ
to derive new meaning from existing cultural
constructs, processes which will continue
reforming. The strength of these artists’ books
is in simultaneously existing in their own right
as well as prompting a reassessment, or new
reading, of their sources. Walter Benjamin
speaks of this relationship to the original in his
discussion on translation, where he refers to an
‘afterlife - which could not be called that if it
were not a transformation and a renewal of
something living - the original undergoes a
change.’ 3
37
In 1999 two years after relocating in New York
City the Bookmobile outgrew the car and
ramshackle trailer that Christopher and Shon
had toured throughout the United States. AYP
then spawned Booklyn, which started as an
informal association of about ten artist / staffmembers running the organization in New
York and ten other represented artists from
across the United States. In the next two years,
as its reputation for both financial and
curatorial integrity grew, Booklyn expanded to
over thirty associated artists and eighty affiliated
institutions, with various programmes serving
thousands of people every year.
Booklyn: describing an artist defined aesthetic of
artists’ books.
Written by Booklyn
Dedicated to Studebacker Hoche, our granpa!
Booklyn logo, designed by Dylan Graham and Mark Wagner
Basic
Booklyn is a non-profit, artist run organisation
located in Greenpoint, Brooklyn, New York.
Our mission is to promote artists’ books as an
art form and an educational resource, to
provide the general public and educational
institutions with programming involving
contemporary artists’ books, and to assist artists
in exhibiting, distributing and publishing
artists’ books, prints and related
interdisciplinary art internationally.
Why?
Booklyn flourishes because there is a basic need
in the book arts field for an organisation
committed to serving the public and
professional artists. Booklyn is possible because
there is an enthusiastic group of publishers,
artists and institutions committed to the
maturation and expansion of the field and
medium of artists’ books. Artists’ books have
recently re-entered the validated palette of
media used by contemporary artists as defined
by the artworld and academia. This validation
has prompted a renewed enthusiasm for artists’
books by colleges, their students, and public
and private libraries. Artists’ books are the rare
books of the future and librarians appreciate
the form as a valuable tool for both reactivating
their collections and as bridges to the future of
the library as a multi-media depository of
interdisciplinary knowledge.
Booklyn originated from the Bookmobile, the
distribution vehicle of Christopher Wilde’s
Artichoke Yink Press (AKA–AYP, see:
www.artichokeyinkpress.com for more details)
originally located in Madison, Wisconsin. In
1997 the paucity of distribution resources for
AYP’s innovative publications prompted Wilde
and accomplice Shon Schooler (entymologist
and proprietor of Blue Barrel Press) to drive a
trailer load of artists’ books around the United
States. They put this artwork directly into
astounded librarians’ and curators’ hands.
Although the book has always been a
ubiquitous media for artists globally, recent
interest in artists’ books has re-conceptualised
the form as a dynamic new integrated art and
literary medium. Artists’ books now share the
same cache of other new genre media
(including digital, installation and performance
art) while still maintaining a historical
alignment with book craft, literature, printing,
and photography. It is the ability of the artist’s
book to integrate both new and traditional
media that makes it such an exciting medium
to work with at this time. We have just entered
another liberating, art historical moment
similar to the one when painting and drawing
were liberated from documentary work by the
advent of photography. The book and printing
Bookmobile logo, designed by Dylan Graham
The Bookmobile was an instant success;
artists suddenly had a nationwide distribution
network directed by a respected publisher,
artist and curator of artists’ books. Librarians
and curators could now make one efficient
appointment with the Bookmobile and see the
work of numerous artists and presses. For all
concerned a visit from the Bookmobile was
vastly preferable than having to organise and
suffer through dozens of potentially
uncomfortable individual meetings.
39
press have been freed from their literary and
imagistic constraints by the ease and access of
digital reproduction and a hungry artworld
seeking new media. Printers! - you will never
have to print another wedding invitation again!
But you may have to get a day job and work
with cranky artists late at night; every
techno-cultural transition phase comes with
plusses and minuses.
Or ‘book!’ can mean poet Jen Benka reading
the entire text of her A Re-visioning of the
Preamble of the Constitution of the United States.
(one poem for each of the 52 words in the
Preamble) at the book’s publishing party at the
Bowery Poetry Club in NYC.
Style
Taking full advantage of the above described
new found freedom Booklyn staff and
associates interests range from traditional
bookforms to the semiotics, performative and
interactive aspects of the book. ‘Book’ can
mean arranging the planting of people in the
ground as a part of an exhibition pairing
antique and contemporary botanicals (as in the
Vegetable Mind performance of the Parallel
Botany exhibition).
Cover of A Re-visioning of the Preamble of the Constitution of the
United States Jen Benka, 2003, book design by Mark Wagner,
published by Booklyn.
While Booklyn has no rigid curatorial
guidelines, the staff, board and associated
artists have a vague consensus regarding
Booklyn curatorial prerogatives.
Below are nine flexible guidelines:
1. No dead people. We love dead artists and
writers, some of our best friends are dead. But
we feel that enough people in the field deal
with the dead. So it is rare that you will see art
or writing by dead people in Booklyn books.
We’re here for the living, hopefully to extend
their state of existence as long as possible.
Exceptions will be made for: recently deceased
associates (a rare and tragic but unfortunate
necessity); appropriate use of dead people’s
work in exhibitions, research, scholarship; and
with art and writing about historical subject
matter (especially with previously unpublished
material by dead people as used by living artists
and writers.)
Marshall Weber performing in Vegetable Mind 2000,
University of Massachusetts, Amherst. Photo: Mark Wagner
2. Be fresh! Booklyn likes new art, books and
writing and while we are proud to be multigenerational and loyal to associated artists,
Booklyn focuses on new work and is committed
to assisting emerging artists and writers enter
the field.
Parallel Botany exhibition at Bryn Mawr College,
Pennsylvania, 2001, showing: Valerie Wagg’s, Root and Flower
1999, Erasmus Darwin, and William Blake’s The Botanic
Garden 1791, and Balm: the Flower Folio 1999, by Kurt
Allerslev, Christopher Wilde, Marshall Weber, 1999.
Photo: Kurt Allerslev
40
4. Use fusion. Many Booklyn artists are using
interdisciplinary approaches to explore ways to
create books where form reflects content.
Booklyn is very interested in the interface
between traditional and new media.
For example combinations of handmade paper,
magnetic paper, video books, illuminated
manuscripts, digital printing and letterpress,
are of vast interest to Booklyn curators. On a
similar note some Booklyn artists continue to
be fascinated with doing odd things that
destroy copy-machines (please note that this
comment does not imply the advocating of
copy-machine abuse).
3. Commit to the codex. Booklyn likes all kinds
of art and books, but we are most interested
in books that follow the codex form because
this form is the most appropriate for the
integration of art and literature that sparks our
fuses. Exceptions, yes of course, for instance we love Robert The’s lathe cut books and we
love Xu Bing’s giant scrolls and etc. etc.
Gun Bible and Grenade Bible
Robert The, 2001, open edition, lathe cut
House of Ghosts design by Christopher Wilde, poem by
Marshall Weber, 2000. The text is printed backwards on
found architectural pencil drawings then folded over so
one reads the poem through the page. Published by
Booklyn
Book from the Sky Xu Bing, 2001, installation of wood block
printed books (detail below)
Coherent and harmonious integration of
material, subject, structure, and technique
within the generous paradigm of the codex is a
typical Booklyn mantra. We like a good look-see
and a good read and we like our hands to feel
and think and see as well.
41
We see content and form as inseparable.
A great book must have good, mature writing of
literary value and subject matter that is either
urgent to our times or timeless in its urgency.
For many Booklyn artists the book is a cultural
or material reference point explored in various
related art media. Booklyn supports work in all
media (such as performance, installation,
photography, printmaking, video, digital
imaging and internet projects) if it expands or
is concerned with aesthetics, form, literature,
reading, writing and other subject matters
relevant to book art and history.
7. Let’s be honest. Though Booklyn is not a
political organisation either legally or culturally.
With just a few (and welcome) exceptions the
political ideology of the associated artists spans
the leftist rainbow from neo-liberal to
anarchistic (and I mean anarchy in a good
way). This is not as much of a political goal as it
is curatorial prerogative. [Secret note for the
fine art press people: Booklyn is the place you
go when the content of your work has become
too radical for your (former) dealers and
subscribers!] In term of non-fiction Booklyn
curators are primarily interested in books about
feminist (and feminine) literature, history,
political and social critique, social science and
poetry. In terms of fiction the curatorial
prerogative focuses on personal narratives
(i.e. ’zine diaries) and poetry. Of course
Booklyn is very interested in writing and art
that dismantles the whole fiction / non-fiction
dichotomy. As a small independent publisher
we advocate for freedom of expression and
freedom of the press and we are committed to
supporting dissenting, provocative and
controversial literature.
5. Down with anti-intellectualism. Booklyn is
not about modernism or material fetishism.
Unlike much of the moribund book arts
scholarship of the last century Booklyn is not
fixated on reducing artists’ practice into clever
categories. I’m going out on a limb here
because there is no solid theoretical consensus
within Booklyn but there is a distinct postmodern tendency for Booklynites to think
about the artist made book as a personal
antidote to mass spectacle. To hope that the
artist’s book can be an intimate and tactile
alternative to the vaporous (and too often
virtue-less) virtual (un)reality of consumer
culture. Booklyn imagines that the book
provides the individual with a combination of
aromatic, cinematic, graphic, literary, and
theatrical perceptions that cohere in an
emotional, intellectual, sensual, and visual
experience which then catalyses a strange mix
of affective and cognitive processes in the
readers brain! In this (con)fusion of neurological activities, where the semiotic codes of written language intermingle with the abstract perceptions of imagery, sound and touch exists the
potential for the most vivacious aesthetic experience (thank you Elaine Scarry, Reading by the
Book, Farrar, Strauss, Girard, 1998).
In terms of realpolitik Booklyn does have
specific social goals. We are committed to
expand the diversity of our board, staff,
associates and audience in terms of race, class,
ethnicity, religion, and sexual orientation. We
embrace the global movement for civil, human
and environmental rights and we support art
and literature that benefits that movement. For
example, we are now donating the net proceeds
from the sale of artist’s proofs from David Rees’
infamous Get Your War On book to the Adopt
- A - Minefield programme of the United
Nations. We look forward to expanding our
participation in these types of projects.
6. It’s the content stupid! (Sorry ’bout that.)
Booklyn has a rigorous editorial practice in
regards to literary form and content and
subject matter in general. Booklyn depends on
the input of artists, editors, musicians,
photographers, and poets and other writers.
Get Your War On
David Rees, 2002
edition of 1,000
visit: www.mnftiu.cc
42
on making books!! It was so much fun. We
created 3 different pieces about water (two fun
pieces with collage & very little text, and one
hard-facts text piece with some illustrations) for
them to colour and fold. I think we had about
10-15 kids stop by in a couple of hours and
many of them had just been in the park with
their parents who had been at the anti-war
gathering. One kid (maybe 5 or 6 years old)
had already chosen his profession as "book
maker" according to his father. Others just kept
on colouring and chatting, and they all got a
free clown nose for participating. We had a
sheet of instructions for kids who were walking
through but couldn't stop to work, so they
could take the papers home and work there.
We had Booklyn brochures available too. I told
the bookmaker kid's father to look us up for
future kids workshops!!
Current Events Maureen Cummins, 2002, edition of six,
screenprint on the New York Times.
Booklyn has somewhat of a reputation of
having a dark palette, of presenting books that
deal with personal tragedy, social upheaval,
ecological disaster, war and the struggle for
peace. Perhaps in part this is true. However it
should be mentioned that Booklyn also
supports beautiful, fun, happy work as
exemplified by Liz Roth’s delightful portraits of
her co-workers at her dead-end job at the
Wisconsin Department of transportation…
umm…uh… well you know what I mean.
I'd like to continue this project in the coming
months - if you know of any special events in
which we could participate, let me know. It's a
great way to promote Booklyn, provide activities
for kids at maybe otherwise boring (to kids)
events, and it gets parents involved too.”
Endpage
While Booklyn both desires and continues to
expand we realise that there are logistical limits
to the organisation’s size. We would like our
education programme to evolve into a year
round book arts school (with a multi-classroom
facility) instructing all ages and supplying
curricula and programming internationally.
What we would like is to represent
approximately one hundred artists, and have
two major exhibits touring worldwide at all
times. We hope to create one new major
exhibition every four years, both on our own
and in collaboration with other organisations.
Another goal is to publish at least four new
Booklyn books every year in forms ranging
from unique books incorporating experimental
technologies (such as magnetic inks and video
books) to innovative and inexpensive trade
publications in large retail editions.
Cheeseburger Soup Elizabeth Roth, 2003 etchings, edition of 10
8. No navel gazing. Booklyn creates multi-media
exhibits about real world topics that might
actually interest the public (see exhibitions
listed). We use innovative installations to
provide a total environment that is punctuated
by intimate reading spaces where the audience
can handle the books exhibited.
9. Encourage populist tendencies: a report from
the field by Booklyn board and staff-member
Amy Ferrara. “Sara and I participated in the
World Water Day activities on Saturday in
Bryant Park (yes, at the exact time and one
block away from the start of the Anti-War
March!) and worked with some really cool kids
Booklyn also aspires to look beyond itself and
into the field. While we now work closely with
many organisations in the field we look forward
to increasing the level of interaction and
collaboration. We would like to help create a
43
solid international network and database of
artists, educators, book art organisations, and
collecting and exhibiting institutions. At this
time book arts organisations have no central
association, Booklyn would like to initiate a
dialogue exploring how such an association
could form.
Finally, in acknowledging Booklyn’s success, we
want to be a model for how a group of artists
can successfully take the means of education,
exhibition, distribution, and production into
their own hands. With that in mind we look
forward to assisting other Booklyn style artists’
organisations to form and flourish throughout
the world. Can we talk?
The Scroll Marshall Weber & various, 2001, collage, 50’ x 8’.
Article distilled by Marshall Weber with assistance
from Amy Ferrara, Emily Larned, Mark Wagner,
and Eleanor Whitney
Parallel Botany/Vegetable Mind
A collaborative / interactive exhibition
consisting of the pairing of innovative
contemporary artists’ books and prints with
rare sixteenth, seventeenth, eighteenth, and
nineteenth century botanical prints and books
selected from the host library’s collections.
The exhibition explores the resonance between
contemporary and antique botanicals and is
structured to illustrate the historical
development of natural theory from the
Enlightenment to the current philosophy of
deep ecology. Originally part of the Parallel
Botany exhibit, the Vegetable Mind performance
is a simple yet striking, site-specific ecological /
endurance piece involving planting people in
the ground for varying amounts of time.
Appendices
Appendix 1 - Programmes:
Available Exhibitions Committed to making the
book arts accessible to a wider public; Booklyn
curates and produces thematic exhibitions of
artist books and related media for galleries,
museums, libraries, schools, universities and
other public sites. Exhibitions are modular and
available in various configurations.
Evidence of Creation; The Gabberjabs of Walter
Hamady’s Perishable Press
The Perishable Press has published one
hundred and twenty-eight fine and awardwinning editions and will celebrate its fortieth
anniversary in 2004. Hamady has published
collaborations with various writers, including
Robert Creeley and Allan Ginsberg, and artists,
such as Warrington Colescott and Herman
Zapf. This exhibit features the Gabberjab series;
seven encyclopaedic, self-referential
explorations of the book production
accompanied by sketches, proofs, mock-ups and
other materials that comprehensively illuminate
the books’ creation.
…even the birds were on fire…
A touring exhibition which features nine books
created by New York City artists who witnessed
and responded to 9/11 and its aftermath, with
accompanying audio, installation, printed
matter, performance artworks, community
meetings, lectures, classes, workshops, and
poetry readings. The exhibition features a fortyfive foot long and eight-foot high scroll collage
of material related to 9/11 collected from the
streets of New York in 2001. The exhibition has
toured throughout the United States and will
tour Australia in 2004.
44
20. Robert Giard, Amagansett, NY
Education (see separate entry under Short
Courses, Workshops and Summer Schools in Book
Arts)
21. Allyson Mellberg, Durham, NC
22. Lois Morrison, Leonia, NJ
23. The Perishable Press, Walter Hamaday,
Mount Horeb, WI
Publishing
Booklyn has its own imprint and publishes
artists’ books with a focus on collaborative
multi-media projects. Recent titles include the
previously mentioned Re-visioning of the Preamble
to the Constitution and House of Ghosts as well as
the ongoing Poets Quickie series.
24. Pi Press, Jonathan Lill, Boston, MA
25. Poote Press, Ruth Lingen, NY, NY
26. Red Charming, Emily Larned, Brooklyn, NY
27. Fred Rinne, San Francisco, CA
28. SailorBoy Press, Jeffrey Morin, Stevens Point, WI
29. Robert The, NY, NY
30. Urst Press, Scott Teplin, Brooklyn, NY
31. Maria Yoon, NY, NY
Collection Development
Booklyn does hands-on presentations of artists’
books and prints, to libraries, museums, and
universities in the United States and abroad.
We keep information about artists and
collecting institutions to aid in distribution and
acquisition opportunities. And we also provide
consulting and research services regarding
artist’s book collection.
32. Xu Bing, Brooklyn, NY
Appendix 3 - Selected Associated Institutions
Beinecke and Sterling Memorial Libraries, Yale
University, New Haven, CT
Boston Public Library, MA
Brooklyn Museum of Art Library, NY
Flaxman Library, School of the Art Institute of
Chicago, IL
Development
Booklyn’s development department fundraises
for Booklyn programmes and assists associated
artists in fundraising and grant-writing. We also
provide fiscal sponsorship for artists and other
groups whose projects adhere to our mission
and programming priorities.
The Getty, LA, CA
Golda Meir Library, University of WI, Milwaukee
Houghton Library, Fogg Art Museum, Harvard ,
University, Cambridge, MA
Kohler Art Library, University of Wisconsin, Madison
Library of Congress, Special Collections Library,
Washington DC
Metropolitan Museum of Art, NY, NY
Museum of Modern Art, NY, NY
Appendix 2 - Active Associated Artists and Presses
Newberry Library, Chicago, IL
1. Arcadian Press, Caren Heft, Stevens Point, WI
New York Public Library, Spencer and Ahrens
2. Artichoke Yink Press & Comics, Dylan Graham,
Collection, NY
Christopher K. Wilde, Brooklyn, NY
Sackner Archive of Visual Poetry, Miami Beach, FL
3. Artnoose Press, Karen Switzer, Oakland, CA
Smith College, North Hampton, MA
4. Harriet Bart, Minneapolis, MN
Smithsonian Institution, Museum of American Art,
5. Bird Brain Press, Mark Wagner, Brooklyn, NY
Washington DC
6. bleed.inc.books, Kurt Allerslev, NY, NY
Victoria and Albert Museum of Art, London, UK
7. Blue Barrel Press, Shon Schooler, Corvalis, OR
Walker Art Center, Minneapolis, MN
8. Blue Moon Press, Jim Lee, Glastonbury, CT
Wellesley College, Wellesley, MA
9. Beatrice Coron, NY, NY
10. Doublevision Press, Alison Williams, Bisbee, AZ
For more information on Booklyn contact:
Marshall Weber
c/o Booklyn
37 Greenpoint Avenue, 4th Floor
Brooklyn, New York, 11222
U.S.A.
001 212 383 9621
mweber@booklyn.org
Please visit www.booklyn.org
11. FiftyfootPineTreePress, MT Karthik, LA, CA
12. Ken Campbell, London, Great Britain
13. comPress, Marshall Weber, NY, NY
14. Maureen Cummins, High Falls, NY
15. Eric Drooker, Berkeley, CA
16. Evil Twin Publications, Brooklyn, NY
17. Filter Press, Sara Parkel, Brooklyn, NY
18. FLY, NY, NY
19. Philip Gallo, Minneapolis, MN
45
Irene Chan’s The Book of the World Ch’An Press, 2000
an artists’ books workshop at Chelsea School of
Art, I used to suggest that most things in the
seminar room could be made into a book – the
Venetian blinds, the doors etc. The Fluxus artist
and who was also closely involved with Dick
Higgins’s Something Else Press, Alison Knowles
constructed The Big Book (1966-8). This had 7
pages (including a fold-out one), a spine, a
copyright notice etc. - some of the defining
qualities of ‘a book’. But it was 8 feet tall, had a
table, telephone line and a grass tunnel to
sleep in, and it was meant to be a functional
living space. Our expectations of intimacy and
privacy from the bedroom or home are
undermined, subverted in this public,
transparent and collapsible (it literally did so
on tour in California) space/book.
Size Matters
Dr Stephen Bury
One of the curiosities of 2002 publishing was
The Smallest Book in the World (Leipzig: Gestalten
Verlag) by the German typographer, Josua
Reichert – a 2.4 x 2.6 mm red leather bound
book of 26 pages of alphabetical exercises,
complete with wooden box and magnifying
glass. It connotes the masterworks of medieval
guild apprentices, those miniature stairs
leading nowhere, tongue-and-grooved with
minute precision, all form and no function,
obsessive even. Why, for example, have a
leather cover at all when it could not possibly
protect the contents? Contrast this with Irene
Chan’s The Book of the World (Ch’An Press,
2000). At 1” by 1” it is not as small as Reichert’s.
Nor does it claim the title of ‘smallest’: in fact,
the contrast of titles is suggestive – Reichert’s
book is the smallest in the world (at least for
the moment), whilst Chan’s book is ‘of the
world’ i.e. the whole world is contained in the
book. Chan’s point of departure is John
Dalton’s metaphor in his book on atomic
theory, A New System of Chemical Philosophy
(1808), in which he compares molecules and
atoms to words and letters. The Book of the World
extends this comparison, both the 26 letters of
the Roman alphabet and the 90 atoms are
combinable to make words and molecules, but
not all combinations are permitted. A silver
leperello structure holds the text, which
surmounts images on transparent paper of
Dalton’s ‘elastic fluid’ and gas. Both are
contained in a ‘bug box’, the naturalist’s small
clear container for samples – ants, moths,
beetles etc. – with the lid’s convex lens acting as
an inbuilt magnifying glass. This is multum in
parvo, the world in a grain of sand. The natural
world and the world of the imagination (where
the reader can forget him/herself in the
world/s created by the author together with the
reader) are continuously substituted one for
another. The simplicity in idea and execution
of Chan’s project stands in stark contrast to the
literally overwrought graphic design of the
so-called smallest book in the world.
Others have attempted an (almost) one-to-one
scale matching of the book to the world, or the
world to the book . Herr Mein in Lewis
Carroll’s Sylvie and Bruno concluded, first
published in 1893 boasts of his map on the
scale of a mile to a mile: “It has never been
spread out, yet. The farmers objected: they said
it would cover the whole country, and shut out
the sunlight! So we now use the country itself,
as its own map…it does nearly as well.” I am
also reminded of John Ruskin’s Examples, a
separately published illustrated appendix to
The Stones of Venice, double elephant folio sized
etchings of the ‘details’ of columns and facades
of Venetian palazzi and churches – in fact
‘details’ is probably the wrong word, as they are
life-size, the transference of the Venetian
city-scape, one by one, into a doomed book
project.
This literal translation of the world into book
underlies the 1966 project by Anthony
Earnshaw, Patrick Hughes, Swift and Page. The
450 ‘leaves’ of the book, The Sycamore Tree, in an
edition of four, consist of the impressions of
leaves from a specific sycamore tree in Leeds,
10-14 August 1966. Similarly, Herman de Vries
16m_: an essay (Bern: Lydia Megert, 1979), in
an edition of 50, takes that area of ground and
maps the findings and samples from different
spots. All these projects suggest that this
attempt to equate in a literal one to one way
the world and the book can only ever be
fragmentary: this type of ‘big book’ therefore
being potentially smaller than the little book.
Paradoxically, larger books are smaller. This
may require some explanation. When I taught
47
Streets, picking up and examining found
objects, making notes in a red notebook.
Translating these wanderings over the days into
rough diagrams, Quinn, detects OWEROFBAB,
which given four earlier days, is inescapably,
THE TOWER OF BABEL. This is a gigantic
book, the world as book – but it can only exist
within the confines of Auster’s moderately sized
book. Multum in parvo.
The size of a book has important consequences
for the artist / author and reader relationship.
Verdi Yahooda’s The Dancer (London: Yahooda;
Coracle, 1984) is a 19cm (high) book with
photographs in a black imitation photographic
album. The book is wrapped in a sheet of black
binding cloth with black elasticated string (at
least I have always assumed that these were an
intended part of the book): there is a real sense
of intimacy as one unwraps the book and then
follows through a private photographic album,
looking at her deceased mother’s mementoes
kept in a box on the dressing table. The size of
the book insists on this one to one relationship
– you, the reader, have been privileged to see
inside this private cache, however factitious,
almost as if you are a voyeur. Anselm Kiefer’s
large and heavy lead-covered books are at the
other extreme: they require the help of several
assistants to turn the pages; you can only see
what somebody else has decided what you can
see – it is the page/spread as exhibition piece.
Dr Stephen Bury
Head of European and American Collections,
The British Library
The ‘average size’ book lies in the terrain
between extremes. A sort of ergonomic – easy
to hold or carry, not too heavy, easily shelved
and retrieved – balance has been attained, a
sort of bourgeois equivalent to the easelpainting that replaced large-scale tapestries and
paintings, the domain of kings and princes.
The large book is redolent of authority, power
and authority: it is the authorised text of the
Bible, lying on aquiline lecterns, read out by
clerics to the laity; it is the book of audit and
taxation – reinforcing Levi-Strauss’ equation of
writing and oppression; it is the atlas of
domination; it is the potlatch or symbol of
conspicuous consumption of the medieval lord
or rich merchant. One of the decisive moments
in the history of the book is the movement
away from speaking aloud – to an audience to ‘reading’ words, silently, privately, as an
individual. This was essential to the rise of the
novel and its own project of realism, a
recreation of the world in detail.
Perhaps one of ‘largest’ books is that one
detected by Paul Auster’s detective, Quinn, in
The City of Glass. Commissioned by the younger
Stillman afraid of what his father will do to him
on his release from gaol, Quinn follows the
elder Stillman’s perambulations through an
area of New York bounded by 110th and 72nd
48
Above and below: The Book of the World Irene Chan, Ch’An Press, 2000
Above and below John Dilnot’s Ordinary Book and Artist’s Book for the 1996
Wexford Artist’s Book Exhibition
perhaps the hallmark or trait, and almost
expected.
Yes it’s True; Artists Make Books
Andi McGarry
In my experience there are not any huge
profits to be made in artists’ books, most
people are making them because they WANT to
make them, NEED to make them, any sales are
almost a bonus. That said, there are plenty of
opportunities for the upwardly mobile maker,
those include Frankfurt Bookfair which
recently featured artist’s book sections, London
Artist’s Book Fair and Halifax Contemporary
Artist’s Book Fair at Dean Clough to name but
a few. They do represent good opportunities
but take a lot of time and money; they remind
me of fishing or hitchhiking.
There are ordinary books and there are Artist’s
Books in the words and graphics of John
Dilnot. The ordinary book is everything that
the artist’s book is not. The definition about
what these books actually are, throw up endless
contradictions, some of which are quite
entertaining. There is no safeguard or
comfortable standpoint when it comes to
describing/defining artists’ books; just imagine
shifting sands!
Around seventeen years ago I became involved
in making artists’ books, I formed the Sun
Moon and Stars Press and my mission
statement was to “circulate organic ideas.” I
have produced over 100 titles since then, in
unique, limited and unlimited editions. I am
one of hundreds, perhaps even thousands of
artists who now make books as part of their
practice.
Other outlets include institutions like Tate
Britain and NCAD along with collectors and of
course any personal contacts. The artist’s book
shows come in all shapes and sizes: tri-annuals
in Lithuania, bi-annuals like Pays Pasage and
annuals like the Wexford Artist’s Book
Exhibition (which it just so happens I
conceived and co-curate). This eclectic
gathering of the clans is a golden opportunity
for the uninitiated to try their hand at the
making of an artist’s book. Along with my
colleague Denis Collins we offer a great ‘deal’
for the incoming artists. There is no fee to
participate, it is open submission, we guarantee
to exhibit your book, the accent is on userfriendliness - so the books are handled by the
public. The show usually tours to a few
different venues and is alternatively an
International. This allows a bi-annual
promotion of indigenous growth to take place.
Purchases are made every year for the growing
Wexford Artist’s Book Collection that is used for
further artist’s book exhibitions, promotion
and education. We have an annual purchase
fund of around 1000 Euros.
YES IT’S TRUE; ARTISTS MAKE BOOKS.
Do all the books artists make constitute artists’
books? Surely it’s an artist’s book if an artist
made it etc. There are no hard and fast rules in
the artist’s book world, and this in itself is an
attractive proposition. The punk rock
revolution signalled exciting times for young,
‘would-be’ bands. I remember quite well as I
was part of that scene, and the artist’s book
scene closely mirrors that garage band
philosophy in many ways. There is a loosely
based artist’s book community out there;
groups networking with other groups,
individuals networking and swapping, sharing
opportunities, setting up gigs etc.
Artists are increasingly finding their voice
through the medium of the book if the
proliferation of shows, fairs and new works is
anything to go by. It is a different ballgame to
the old canvas or limestone block; exploring
through the book is more like making a movie
than anything else, a flick book is in fact a mini
movie!
It is really great to get the chance to see so
many wonderful books; I’ve certainly seen
quite a few ‘beauties’ since these shows began
eight years ago. Seeing the works of my
contemporaries on a regular basis has enabled
me to keep in touch with this anarchic
community of makers along with other book
gazers.
But it is more than that, there is a contract of
sorts between the artist who makes books and
the viewer who bookgazes, it is unwritten and
based on shared intimacy, and one the maker
exploits to the full. The added possibility of
tactile and other surprises always exists and is
If it is true that “Everything exists in order to
end up in a book” as Mallarmé states then I feel
that the artist’s book makers of the world are
ideally placed to enact this prophetic line in the
fullness of time.
51
Above and right:32 Superior Beauties of Buddha’s Person Veronika Schäpers
Triumph eines Hosenverkäufers Veronika Schäpers / Heiko Michael Hartmann
Open and closed above: Von der Kindsmörderin Marie Farrar Frauke Otto / Bertolt Brecht
At the same time he or she is the one who
actually does the work, who has to cope with all
technical details and problems, who runs the
whole business. The craft itself and the
technical processes generate experience as well
as ideas and can lead to special ways of
production. Craft becomes a genuine and
integral part of the art. There is no division of
labour in this book art, and no limits. Today,
we have come full circle: Aldus Manutius is our
direct ancestor. We live in a time of technical
progress and upheaval as hardly ever before.
Maybe the book will again become the elite
media as it once was. Apart from that it seems
the time of the book as media of cultural
memory is going towards its end. The book as
such is questioned profoundly by this development, and it has to be re-thought thoroughly.
The situation is comparable with that of
painting after the invention of photography.
There are no answers or recipes of general
value. Each has to find his or her own solution.
What finally counts is the single book, its
contents, and the fulfilment of the criteria
chosen by the artist himself/herself. Most of
the books presented here are small editions,
some of them one-of-a-kind. Depending on the
project, all available techniques and crafts are
used, be it woodcut, photography, scans,
moveable type, laser printer, photocopier, or
data transfer.
13+: Contemporary Book Art From Germany
Ulrike Stoltz
Preface
13+ is the name of a rather informal group of
German Book Artists. The name 13+ is an
indication of the fact that the number of
members is not necessarily constant. Yet there
is a sense of community among the members, a
result of the group’s history so far. In the
autumn of 2000, the Association Internationale
de Bibliophilie (AIB) held its yearly colloquium
in Berlin. On this occasion, Jean-Marc
Chatelain from the Bibliothèque Nationale de
France in Paris and secretary general of this
worldwide association of collectors and
institutions initiated a presentation of
contemporary German book art at the
Staatsbibliothek in Berlin. He asked Françoise
Despalles to curate and organize the show and
to edit a trilingual catalogue: 13 x Künstlerbücher
Livres d’Artistes/Artists’ Books.1 The deciding
factor of selection was the AIB’s wish to see
a representative cross-section of those book
artists and publishers who have their focus on
experiment and innovation.
The members of 13+ have quite different and
manifold artistic approaches and temperaments
- as well as much in common. First of all, they
share a longstanding, often exclusive, and
professional preoccupation with the book as
media. Their working field is mainly the same:
they are book artists in the first place, some of
them fine artists or authors as well, they are
‘illustrators,’ type setters, printers, producers,
maybe even book binders and - of course publishers, that means organisers, distributers,
book dealers all in one.
While the book artists bring an idea into form
(into being), while they experiment with
typography, or binding structures, or material
to print on, they always look for the possibilities
and conditions of the book as a contemporary
media and sensuous object.
From the very beginning, Dr. Stefan Soltek,
former curator for book arts at the Museum für
Angewandte Kunst (Museum of Applied Arts)
in Frankfurt am Main and now director of the
Klingspor Museum in Offenbach, was part of
13 + as author as well as consultant. After the
AIB’s colloquium in Berlin, Dr. Wulf D. v.
Lucius published an essay in the Bulletin du
Bibliophile, introducing 13 + to a wider international audience of experts.2 At the same time,
works of 13 + were shown on the International
Book Fair “Salon du Livre” in Paris 2001 as part
of the presentation of Germany as the guest
country.3
The general idea is that the work of a book
artist can be compared with that of a stage
director or film maker. The underlying subject,
theme, concept, image or text is being
interpreted and put on stage, historic material
is being questioned for its present meaning.
Starting point of work is not necessarily a text
by somebody else or even a text of so-called
world literature. It could as well be a text by the
author, or no text at all, but instead a concept,
an idea for an image, or some other material to
work with. The artist is author in every regard.
53
The next artist introduced is Frauke Otto. She
is a bookbinder and paper maker. In this book
here she uses handmade paper. The text is set
by hand and printed letterpress. Usually she
chooses texts from classical literature for her
books, here it is a text by Bertolt Brecht: Von der
Kindsmörderin Marie Farrar. The book design
reflects the emotional states which are evoked
by reading these texts. Frauke Otto considers
it to be important that not only does she make
the idea and concept for the book, but also
does all work herself (papermaking, type
setting, printing and bookbinding). Most
important to her is that the realisation of
handcraft techniques has to support the clarity
of the design - a point of view many artists of
13 + regard as important.
As a result of all this the members of 13 +
wanted to continue this ‘joint venture’ in some
way or another. In a somewhat different
assembling works of 13 + were exhibited under
the title einblicke-insights at Takeo Showroom,
Tokyo, Japan, in October 2002. This exhibition
is documented on a web-site.4 Further plans for
exhibition venues include Philadelphia, USA
(November 2003—January 2004); Lithuania,
Estonia, Schwerin ...
The following text goes back to a talk given at
the opening of the exhibition einblicke-insights
in Japan and at the Museum für Angewandte
Kunst (Museum of Applied Arts) Frankfurt
during the Frankfurt Book Fair 2002. It
presents mainly those books that were on show
in Japan and gives a general summary of each
artist’s approach and work.
Susanne Nickel is next. Her ideas for books
come from her growing collection of witty texts,
descriptions of absurd scenes of everyday life,
bizarre materials and interesting objects.
Surrounded by all this, she mixes and mingles
the ingredients into books which are often
one-of-a-kind. In this book Susanne Nickel uses
a fairy tale by the Brothers Grimm Frau Trude,
which she illustrates with drawings and collages
on transparent foil.
The Artists of 13 + and their Work
The first book presented is by Veronika
Schäpers and has the title: 32 Superior Beauties of
Buddha’s Person. It is printed from Zinc Clichees
on Torinoko paper and painted with a special
Japanese lacquer. The large format book
contains geometrical signs and symbols or parts
of these respectively. (I’d like to mention again
that the Nazi Hakenkreuz turned the other way
round and that the swastika is the older
symbol.)
Since 1997, Veronika Schäpers has been living
in Tokyo, and it seems natural, that where you
live does have an influence on what you do!
This influence can show up in different ways.
Here, it is the theme that comes from the Far
East. Heiko Michael Hartmann describes in his
text Triumph eines Hosenverkäufers the situation
of a man who wants to buy a pair of trousers.
He is being put under pressure by the salesman
in such a way that he imagines himself to be in
a fight. He just tries to escape. Veronika
Schäpers transforms the two men into boxers.
While turning the pages of her book, I can
follow their fight and read the text line by line.
The figures are printed as light shadows on
clear foil and become visible only when the
pages are turned over. With all the pages on
top of each other they become a colourful
mass, suggesting some movement. The book is
bound with rubber strings that are reminiscent
of a boxing ring.
Above (closed) and below: Frau Trude Susanne Nickel /
Brüder Grimm
Veronika Schäpers, Frauke Otto and Susanne
Nickel together form the group à 3. Under this
name they appear on book fairs and exhibitons.
À 3 refers, of course, to the fact that they are
three – three quite different and individual
approaches to the book.
54
Next, another group: 10 years ago, two women
from Leipzig founded Carivari. The word
Carivari means something like a happy disorder.
As a collective for artists’ books, multiples and
small edition prints, Christiane Baumgartner
and Sabine Golde understand Carivari as a
platform for a creative cooperation of text and
image.
Above: 45 minutes for a speaker Sabine Golde / John Cage
Christiane Baumgartner has her focus on
artists’ books, printmaking, and video. In this
book, she takes the verses 1224 — 1237 from
Goethe’s Faust and breaks them down to the
geometrical elements of the letters themselves:
horizontal and vertical lines and segments of
circles. Screenprinted, the unreadable elements
add up to readable letters because she uses
translucent paper.
Ebene Sabine Golde / Johannes Bobrowski
“sound” of the text. This corresponds with the
“flat land” that Bobrowski talks about in his
poem. Die Farbe der Leere (the colour of
emptiness) contains fragments from poems by
Vittorio Sereni set in Italian as well as in their
German translation. Sabine Golde’s
typographical compositions are dense and
colourful. The text “illustrates” itself.
Goethe’s Faust: Verses 1224 - 1237 Christiane Baumgartner
Speed is a book that has obviously to do with her
video work. 26 videostills are combined with a
text by Paul Virilio. Christiane Baumgartner is
here dealing with abstract landscapes, reducing
them to a visual structure and thus translating
from a natural to an artificial form.
Die Farbe der Leere Sabine Golde / Vittorio Sereni
CTL Presse stands for Clemens Tobias Lange
and his press, or, as he explains himself: “book
different”. For over 14 years, the careful
research for the poetic application of little used
traditional, fine, or forgotten materials is as
important for him as the choice and the quality
of the text. He often collaborates with other
artists. In this book with the title Mexico you see
photographs by Stephan Köhler. It is a twovolume artist’s book. Each volume includes 33
black-and-white photographs printed by
Clemens Tobias Lange onto photo-sensitive
handmade Kozo paper, combined with a text
comprising letters to Stephan Köhler from
friends in Mexico, set and printed by hand.
Speed Christiane Baumgartner / Paul Virilio
Sabine Golde is particularly interested in poetry
and music. Several times she has used work by
John Cage as a starting point for her artist’s
books. Here it is in 45 minutes for a speaker
including a CD with an interpretation of the
piece by the pianist Steffen Schleiermacher.
Sounds are not just sounds, but letters as well,
as Cage said. Sabine Golde’s typography tends
to turn into images. In this book she interprets
the poem Ebene by Johannes Bobrowski. Large
letters are spread over the accordion book,
leaving a lot of “empty” space to add to the
55
Editions F. Despalles was started 20 years ago by
Françoise Despalles and Johannes Strugalla in
Paris (France) and Mainz (Germany) as a
printing, publishing and distribution house for
graphics, paperworks and artists’ books. At the
same time, Editions F. Despalles serves as a
bridge between France and Germany,
publishing authors and artists who might be
quite known at home but would easily remain
unknown in the other country. Bilingual
editions are a speciality of Editions F. Despalles’
programme. In addition, Johannes Strugalla is
an artist, typographer, and author himself.
Leuchte Barbara Fahrner
The project which Barbara Fahrner has realised
during the last 5 years with the help of her son,
Markus Fahrner, and his wife, Fitnad Aboudye Fahrner, is as large as manifold. The title Zweite
Enzyklopädie von Tlön (Second Encyclopaedia of
Tlön) refers to a novel by Jorge Luis Borges,
where he says: “In a hundred years time some
one will find the hundred volumes of the
Second Encyclopaedia of Tlön”.
Ziemlich gedichtkopfkissen is a text by the Austrian
author Friederike Mayröcker, published here
for the first time, including the first translation
into French (presque oreiller poème). The unusual
images Friederike Mayröcker creates in her
texts are accompanied by monochrome
etchings by Monique Frydman that point
towards what lies beyond words. The
typography by Johannes Strugalla transforms
the texts into visual structures – readable
images that do not illustrate the text, but add
another dimension.
Zinnober/Cinabre is a book with images and texts
by Johannes Strugalla. In a meditative mood,
Johannes Strugalla reduces his visual
vocabulary to black vertical lines, drawn with
a bamboo pen, creating a certain rhythm and
tension. These lines meet with pages of pure
rich vermillion and yellow. The texts were
written parallel to the visual work in French
and German. Here the artist/author plays with
linking different levels of reality.
Zweite Enzyklopädie von Tlön Barbara Fahrner
Barbara Fahrner’s Encyclopaedia shows the
whole range of her thoughts, material, and
artistic techniques she uses: little sheets of
paper with notes and sketches, long texts
written by herself, quotations from different
authors throughout the ages, exquisite
drawings and prints on precious papers, hand
writing and type setting, all sorts of collage,
kept in envelopes and document files. This
encyclopedia does not pretend to include the
whole world, although it shows the world’s
complexity in every part. It is not a bibliophile
beautiful book. Instead, it is a presentation of a
concept of world perception, that asks and
demands from the reader a new understanding
of the traditional, re-reading what seemed to be
well known, experimenting with the order of
image and text.
The next artist of 13 + is Barbara Fahrner.
She has been working with artists’ books for 23
years. She is an artist, an author, a philosopher,
a scholar. To her, writing is drawing, drawing is
writing. In her work, text and image cannot be
separated. For Leuchte Barbara Fahrner took a
text by Georg Büchner, Lenz and re-wrote it,
using a method called “oulipo” (a term that
refers to “Ouvroir de la littérature potentielle”:
workshop for potential literature). In doing
this, every word is substituted by another,
following certain rules, and the new text
generated creates another sense that sort of lies
behind the original text. (The book includes a
dictionary to re-translate to the original text.)
56
Mexico Clemens Tobias Lange / Stephan Köhler
Ziemlich gedichtkopfkissen/presque oreiller poème Editions Despalles / Friederike Mayröcker
Zinnober/Cinabre Editions Despalles / Johannes Strugalla
media in a new dimension. The present
information systems have become so extensive
and complex that the one-dimensional form of
the book can’t deal with their needs for linking
and simultaneousness.” In 2002, Gerhild Ebel
founded her own press: xlex-press.
In the GDR of 1982 Uwe Warnke founded
Entwerter/Oder (e/o) an artists’ magazine only
with original contributions. Currently, he
publishes between 3 and 5 issues per year.
In 1990 he founded Uwe Warnke Verlag in
Berlin, where he publishes artists’ books, print
editions, painters’ books and e/o - all in limited
editions. Usually, artists contribute first to e/o
before Uwe Warnke collaborates with them for
a book or an edition of prints. Printing techniques to be found in e/o include etching and
lithography, screenprint, copy art, drawings,
photographs, even music cassettes or CDs.
All contributions to e/o are first editions. Uwe
Warnke is an author of experimental texts and
visual poetry himself.
John Gerard’s dominant theme for his work is
“paper as image”. His images and hand-made
books are variations of the many sided
possibilities of artistic expression within the
medium of paper. The multitudes of thickness,
inner structures, surfaces, its ability to assume
subtle colour nuances, as well as the
unmistakable tactile qualities are integral parts
of his work. He has been making artists’ books
for over 15 years.
Der Schmerz John Gerard / Christa Wolf
For the essay Der Schmerz (On Pain) by Christa
Wolf, John Gerard made ten paper paintings,
using the motif of a belt of fire. The text was set
and printed by hand in collaboration with
typesetters in Leipzig (Haag-Drugulin) and a
printer in Hamburg (Klaus Raasch). This book
is a first edition. The paper-pulp painting
Cyclone gives an idea of the technique of paper
painting: wet coloured paper-pulp is poured
onto the freshly made sheet of paper, pressed,
and left to dry.
Entwerter/Oder (e/o) Uwe Warnke
Gerhild Ebel is an artist who mainly works with
installations, objects, and concept art, including
experimental literature and artists’ books. Her
work is characterized by a certain stringency.
CUT Gerhild Ebel
The book CUT was made in context with an
installation, where all the pages of the book
were shown in frames on the wall. To Gerhild
Ebel, her work has to do with communication
at the end of the 20th century. She says: “The
book is replaced by computer and electronic
Cyclone John Gerard
58
images, often photocopied, and collages, but
also drawings, and sometimes fragments of
other texts to “illustrate” the main text. The
book Lichtwechsel deals with the piece Play by
Beckett and also plays with different materials
like Thai paper, cellophane envelopes, punch
cards, etc.
Anja Harms has been making artists’ books for
15 years. Her favourite printing techniques
are linocut and woodcut, often used in
combination. She also likes to use rich colours.
Texts are always set and printed by hand.
In Durchbrüche/ Durchblicke Anja Harms printed
poems by Paul Celan, set so that they sort of
melt into the picture, a line of text is treated
like a line of drawing. The wood blocks were
brushed to show the structure of the wood
when printed.
Ein Cartesischer Hund John Gerard
The double page spread from the book
Ein Cartesischer Hund is made with the same
technique.
Dr. Dorothea Eimert, director of LeopoldHoesch-Museum (Düren) writes: “John Gerard
is both a systematic thinker and romanticist.
His images are based on solid research and
skilled knowledge in the medium of paper. ...
The line becomes a poetically filled expression
of the spontaneous act of movement.”
Leporello Verlag in Aachen is a one-woman
publishing house spanning more than 12 years.
Karin Innerling understands the book as a
medium which creates a synthesis of text,
image, and overall form comparable to a
theatre production in which text, actors,
choreography, sets and costumes contribute
towards a common theme. Karin Innerling
therefore likes to work with texts that were
written to be performed on stage, but she
rarely gives the whole text, she rather uses
fragments of the text in combination with
Durchbrüche/ Durchblicke Anja Harms / Paul Celan
In Dachbewohner the poems by Paul Celan are
put at the beginning of the book, thus leaving
the images by themselves. The title (“roof
inhabitants”) refers to antennae on roof tops,
although some of the images become quite
abstract. The accordion fold book has one dark
side with white images and one light side with
black images: day and night.
Lichtwechsel Karin Innerling Leporello Verlag
Dachbewohner Anja Harms / Paul Celan
59
photographs of kissing scenes from the
Hollywood dream factory taken directly from
the television screen. These pictures are
printed in 24 different shades of red, orange,
and purple (lipstick colours).
The poetic cycle Mondsand (moon sand) by
Hans Arp is printed in this third book of Anja
Harms. It is an accordion structure which
reflects the cycle structure of the text, like the
circle of the continuous waxing and waning of
the moon.
Mondsand Anja Harms / Hans Arp
In this next book with a text by the Austrian
author H. C. Artmann Der Aeronautische
Sindtbart, Dreissigstes Abendteur avt Capitul Peter
Malutzki uses the same zinc plate throughout
the whole book. The picture shows a welldressed couple, ready to go to the opera. Using
different colours and ways of overprinting, the
expression of the image changes continuously,
thus reflecting the method of playing with
words that the author uses in his text.
Der Kuss im Traum Ines v. Ketelhodt / Karoline von Günderode
For more than 12 years, Ines v. Ketelhodt and
Peter Malutzki have been collaborating
occasionally. One of their first books together
was Leporello 1 + 2. In front of the mounted
camera, the actor moves, holding a black staff
in front of a light background. Through the
long exposures, the actor’s and the staff’s
movements are interwoven in space. 18 black
and white photographs were selected and
composed into a sequence. Leporello 1 and 2
make use of the same sequence, each artist
imposing different overprints: Ines v. Ketelhodt
combines the photographs with typographical
images, Peter Malutzki overprints the same
photographs with lines in different colours.
Leporello 1 + 2 Ines v. Ketelhodt / Peter Malutzki
Der Aeronautische Sindtbart, Dreissigstes Abendteur avt Capitul
Peter Malutzki / H. C. Artmann (closed and open)
Since 1997, Ines v. Ketelhodt and Peter
Malutzki have been working on their version of
Zweite Enzyklopädie von Tlön (The Second
Encyclopaedia of Tlön), Borges’ text is the
source of inspiration for their project that they
Ines v. Ketelhodt combined in her book a
sonnet by Karoline von Günderode, Der Kuss
im Traum (the kiss in a dream) with twenty four
60
subject of his work, with construction and an
artificial setting being more important than
mimetic representation. The book 22.3.1994
contains colour woodcuts on music paper.
regard as an attempt of reconstruction. The
project is planned to last for 10 years, with 5
volumes being published every year, one
volume covering one keyword. The artists
regard choice and network of keywords as a
main principle ensuring that in the end it will
be not just a pile of “anything-goes”, but a
coherent oeuvre. Even formally the 50 volumes
show that coherence: all come in the same
format and will be bound in different shades of
grey. Inside, quite a lot of different techniques
are used: handset and computer set type, offset
as well as letterpress, photography and linocuts.
The choice of paper (up to printing on found
material) is also an important element. “But of
course…”, they write, “we know we can only
mirror Tlön in our own world, and the
encyclopaedic idea can only be realized in
cut-outs and fragments. But we hope that the
pieces we find will give an idea of the whole
building.”
22.3.1994 Anton Würth
Anton Würth also makes copperplate
engravings, a printing technique that supports
his idea of “transforming the book from a
linear rational form of knowledge into a multidimensional aesthetic concept”, as he says
himself. The second example shown has the
title 20. Mai - 4. Oktober 1997. Technique and
content correspond with each other:
concentration, reduction, linearity, lightness.
Sometimes, there is no text at all:
“Book as a form and media of art requires an
understanding of text that does not literally
cling to writing.”
Above and below: Zweite Enzyklopädie von Tlön
Ines v. Ketelhodt / Peter Malutzki
20. Mai - 4. Oktober 1997 Anton Würth
Frankfurter Edition (The Frankfurt Edition)
is the title of a publishing project of Coco
Gediehn and Bernd Wolf. It is a series of
one-of-a-kind books created by fine artists.
For the past 12 years more than 90 artists
have taken part in the projects that all deal
with visual communication. This diversity has
fostered the growth of the project into a
Anton Würth studied graphic design and
lithography in Germany and Italy and has
been exhibiting regularly both in Germany and
abroad since 1985. The book is the object and
61
becomes important. Jeder wusste um was es ging
(Everybody knew what it was all about) is the
result of one of these artistic dialogues: a
collaboration of Uta Schneider with the painter
Thomas Dahmen. The book consists of three
parts with the themes lines, planes, and figures,
all printed from linocuts, woodcuts and
cardboard cuts. Each part was printed page
after page starting with the first page; the
translucent paper connects not only the open
double spread but also the pages following.
natural organism. As a consequence the choice
of the theme for the annual production evolves
from the experiences of the previous year. For
example themes have been : Das Plagiat
(plagiarism): 20 artists copying each other,
every copy being the original for the next one
in line; Das Unsägliche (unspeakable):
I write a text for your picture / you illustrate
my text (involving 19 artists); Das Gastmahl
(the banquet): 17 artists were invited to eat
and drink and make art and read Platon’s
Symposium, resulting in a series of one-ofa-kind artists’ books; Exerzitien (religious
exercises): 18 artists spent a week together in
complete silence in a monastery, only
communicating by exchanging pictures drawn
into “cell books”.
The illustrations (opposite) show samples from
Frankfurter Edition’s latest project: Im Städel
(At the Städel-Museum) art about art. Fifteen
artists investigated selected items of the
Museum of Fine Art in Frankfurt, resulting in a
collection of contemporary responses to
classical paintings of the 17th to 20th century,
here especially works that all deal with
Courbet’s The Wave.
Jeder wusste um was es ging Uta Schneider / Thomas Dahmen
Hartmut Andryczuk is artist, author, publisher
and journalist all in one. He is especially
interested in book arts’ networks, artists’
magazines networks, and, of course, the
internet as a platform for literature and fine
arts. For 10 years, his Hybriden Verlag has been a
forum for contemporary experimental artists’
books with contributions by Pierre Garnier,
Valeri Scherstjanoi, Wolfgang Müller and
others. Often Hartmut Andryczuk invites artists
to work on a certain subject, such as Schädlingsbekämpfung/pest control or Virenbibliothek.
He often collaborates with artists and authors
such as Freddy Flores Knistoff or Felix Martin
Furtwängler and publishes some different sorts
of magazines (periodicals): Unikatmaschine,
MMM-Diarium, Hybridenland. Works include
texts, sculptures, installations, performances,
audio-CDs, and editions which document
what’s happening and continue to explore the
results.
Every page is the result of what has been
printed before and influences the next pages.
Hand set texts were added and printed in
white, as the text should not be in the
foreground, but rather be a commentary voice
in the background. The book can be read as
a visual essay on perception: how do forms and
figures influence each other, how are image
and text related to one another? - these are
some of the questions the book deals with.
Liegend/Im Fall uses a text by Uwe Warnke, with
whom Uta Schneider has done a few other
books as well. Here, the text, which consists
only of one sentence (which I think is a
speciality of the German language!) leads to
the structure of the book: From colon to colon,
the text is cut into 49 parts. Each part of the
text is printed onto the middle of a square
sheet of transparent paper, with overlapping
elements of illustrations. The 49 squares make
up one big square of 7 x 7 sheets, thus giving
one image and the text in its proper order.
Uta Schneider is an artist especially interested
in collaboration. Rather than monologues in
self-assertion the interest in artistic dialogue
62
Schädlingsbekämpfung/pest control Hartmut Andryczuk
Im Städel Frankfurter Edition (Bernd Wolf and Coco Gediehn)
Fifteen artists investigated selected items of the Museum of
Fine Art in Frankfurt, resulting in a collection of contemporary
responses to classical paintings of the 17th to 20th century, here
especially works that all deal with Courbet’s The Wave
Virenbibliothek Hartmut Andryczuk
As long as the sheets are in the box, they can
be turned like the pages of a book, the
transparency of the paper creating new images
in the combination of the sheets. But this book
is not bound: this offers the opportunity to the
reader to combine the sheets in a different
form, thus making up his or her own text.
Orakelblätter (oracle sheets) is the seventh of
Ulrike Stoltz’s Sibylline Books. This refers to
the ancient prophetesses, the Sibyls, whose
prophecies were kept in nine books on the
Capitol Hill in Rome. This book contains a text
written by Ulrike Stoltz, a set of poems on
remembering and forgetting. The images are
photographs – some of them are clearly
recognisable for what they are, others are more
vague. As loose sheets they can be laid out in
different combinations and interpreted in
various ways. The images are printed with
archival ink on joss paper.
Liegend/Im Fall Uta Schneider / Uwe Warnke
Ulrike Stoltz has a focus on mythological
themes and antiquity, the old stories and texts.
In her opinion, the past is not gone, it is still
there and has an influence on us. Ulrike Stoltz
is interested in the presence of the origins, she
likes to question the past what it has to tell us
for today. She also likes to experiment with
unusual materials.
Orakelblätter Ulrike Stoltz
Uta Schneider and Ulrike Stoltz have been
collaborating for more than 16 years, now
under the imprint <usus>. Their latest project
is called The Boat-Book Project and deals with the
idea that boats and books are both containers
as well as means of transport.
Medea Fragmente has a poem written by Ulrike
Stoltz, that refers to the Greek goddess and her
magic power. The text is printed with a laser
printer onto paper, the images were created on
a computer and printed with archival ink from
an ink-jet printer. The sheets were then
laminated and bound in the form of a palm leaf binding. This is a one-of-a-kind book.
Boundless consists of 7 folded sheets, each is a
chapter dealing with various aspects of both
books and boats. The pages of the folded sheets
can be turned and read, this way the book
functions like a concertina. When you unfold
them, you will see collaborative drawings by the
two of <usus> that run across the text.
On the other side, you will see photographs of
a boat passing under a bridge: all 7 sheets put
together show the whole boat.
Above and below: Medea Fragmente Ulrike Stoltz
Boundless Ute Schneider / Ulrike Stoltz
64
the book as such, as each and every new book
sits on the shoulders of all other books written,
made and published before, be it consciously
or unconsciously. The net of books is the
original one: the net of nets.
Books and boats are both strong metaphors,
with which <usus> will continue to work.
This is another example, Leseboot/Segelbuch;
two folded objects playing with the boat form
as well as with word combinations.
Leseboot/Segelbuch Ute Schneider / Ulrike Stoltz
Conclusion
To sum it up: the cross connections seem to
be very important. There are even more links
than mentioned so far. For example, the books
Triumpf eines Hosenverkäufers by Veronika
Schäpers, Frau Trude by Susanne Nickel,
Ebene by Sabine Golde / Johannes Bobrowski
and Liegend/Im Fall by Uta Schneider all were
initiated by Gerlinde Creutzburg/Neues
Kunsthaus Ahrenshoop. There are lots of cross
connections within 13 +: some projects by
Hybriden Verlag included works by Gerhild Ebel,
Barbara Fahrner, Sabine Golde, Ulrike Stoltz
and Uwe Warnke.
Ulrike Stoltz was a co-founder and for 15 years
(1986 - 2001), a member of the book artists’
collective Unica T (Unica T is a fictitious
person making real books). She is now working
together with Uta Schneider under the imprint
<usus> (Uta Schneider & Ulrike Stoltz).
Ulrike Stoltz is Professor for typography and
book design at the Hochschule fur Bildende
Kunste, Braunschweig, Germany.
Ulrike Stoltz also contributed work to some
projects of Frankfurter Edition. Uta Schneider
has collaborated more than once with Uwe
Warnke. Some works by Gerhild Ebel have been
published by Uwe Warnke Verlag.
Some of the artists of 13 + have a concept of art
and work that necessarily involves collaboration
with other artists (also from outside 13 +):
CTL Presse, Editions F. Despalles, Frankfurter
Edition, Hybriden Verlag, Uwe Warnke Verlag,
Uta Schneider. Some of the 13 + artists form
groups (at least duos) themselves: à 3, Carivari,
Editions, F. Despalles, Frankfurter Edition, Fahrner
& Fahrner, v. Ketelhodt & Malutzki, <usus>.
notes
1. 13 x Künstlerbücher/Livres d’Artistes/Artists’
Books Ed. by Françoise Despalles. With an essay:
“verso : recto” by Stefan Soltek. F. Despalles
Editions, Paris & Mainz, 2000.
2. Wulf D. v. Lucius: Die Sprache der Zukunft:
Aktuelle Buchkunsttendenzen in Deutschland.
In: “Bulletin du Bibliophile, No. 1,” Paris 2001.
Ed. by Electre-Éditions du Cercle de la
Librairie; p. 130 ff.
It should also be mentioned that Anja Harms,
Ines v. Ketelhodt, Uta Schneider and Ulrike
Stoltz formed Unica T (1986—2001).
3. www.livresdartistes.com
This idea of cross connections, cross overs,
networks and related relations works best with
4. www.einblicke-insights.com
65
One year of
bookartbookshop
2002-2003
Official opening of Bookartbookshop
(BABS) on Palindrome day 20.02.2002
Alastair Brotchie friend & landlord
Annabel Other: The Bristol Art Library
in residence. May 02
Simon Rackham: In Black and White
Exhibition. June 02
Kelly Wellman: Financial CPO without
whom BABS could not survive!
Bill Burns: Museum of Safety Gear for
Small Animals. Exhibition. July 02
(Thanks to Neil Crawford for
Anthony Hancock Retrospective at
BABS & The Foundry. Sept 02
Les Coleman: Glue. Book launch and
exhibition of 35 years in print. Oct 02
LLAW: Curated by Brigid McClear.
This poster by Redell Olsen
Mark Pawson: Look I’ve made some
new postcards! Exhibition. Dec 02
Dominic Rose: Enseignement
Agricole. Demonstration. Jan 03
Andrew Lanyon: 100 Hollow Books
To celebrate 1 year of BABS
typesetting all our postcards)
Bob Cobbing & Jennifer Pike
Graeme Walker: POW
Installation and book launch
space. It is 1647, in the Kingdom of Chile, in its
capital, Santiago, and a young man is standing
in a corner of a prison, preparing to hang
himself.
An Essay About Reading An Artist’s Book About
Reading
Sarah Jacobs
A year or two earlier in a grand house…and
then, again, here and secretly. In the garden of
a convent.
The essay and the artist's book described in it
were conceived as being two parts of a single
project and were made/written in the same
space of time.
What is this year 1647, and where is this Chile,
this Santiago? Is it the first time you have visited
the Kingdom and the story? Or the 3rd, or the
10th? And who are you anyway? The answer
determines the time and space of your
particular reading.
You are looking at a smallish notebook, not too
thick, say 100 pages or so. The black cover with
manufacturer’s name at the back (Seawhite of
Brighton) gives nothing away but an intention -to be sober, discreet. Touch it. It is rough. Pick
it up. You see immediately it has been divided
in half. At the back, all the pages are clumped,
bundled together, tied by a narrow blue-grey
ribbon. If you want to see what is inside the
bundle, you would need to take a decisive step.
Who would start so bold? Not I. At the front,
the fly leaf gives one author – Heinrich Von
Kleist – but two translators, two publishers,
two years of publication, and two titles – The
Earthquake in Chile and The Chilean Earthquake.1
The words are handwritten, in ink and in
pencil.
Ostensibly, the place of the story is a city at the
bottom of the long thin country constituting
most of the west coast of the lamb chop that
was (when I was a girl) South, but which now
forms part of Latin America. The Inca sites are
far away. So far outside the story that it is only
the most anachronistic reading that proposes
them as an absence or even a ghost. Peruvian
dominion of the country has already ceased
(1533) but its boundaries have not yet been
agreed with Spain (1722). The city, familiarly,
has houses, a convent, a prison, a mighty river,
a Cathedral with bells, law courts and a site for
public executions. And, in the year of the story
– at the very moment the story begins – the city
is struck by a devastating earthquake. A matter
of historical fact, or so I take on trust.
Moving on, turning the pages, you see that
each verso page is blank. Each recto page has a
rectangle of paper, creamier in colour than the
paper of the notebook itself, pasted lightly on
it. The pasted rectangles are printed but right
away you can see something is happening –
there are gaps (not too many) and some words
(rather few) are picked out by being printed
more faintly than the main text. This is not a
riddle. I will give the game away. This edition,
this redaction, this notebook, this untitled
artist's book, compares or picks out differences
between the two translations, by Ronald Taylor
and by David Constantine. It forms part of my
translation studies, and its making was just
about contemporaneous with the making of
‘The Unknown Masterpiece’ “Drawing Book” 2
which is a multiple translation of the great
short story by Honoré de Balzac.
For already the place is so far away, and the
time so remote from Kleist -- and the more so,
from me -- that I abandon attempts at
understanding this tale as an historical
recreation of a far-off continent in a chronicled
and documented time. Did Kleist read eyewitness accounts of the earthquake? I care not.
Was it an event which reverberated in world
history? I doubt it. A thinly-veiled substitute for
the earthquake which rocked Lisbon in 1755?
Here we come closer. I remember that Voltaire
published Candide in 1759, and a little
research shows The Lisbon Disaster in 1756. So
we are in Europe, in an age of philosophers,
and two decades or so later, Kleist will be born.
Having flipped through the front half, you turn
to the beginning, and start to read. And – even
though the initial words are missing – you can
immediately locate yourself in time and in
How long will it take you to discover that if you
lift the lightly pasted rectangles, some of the
notebook pages have words handwritten on
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presbyopic, read, at the beginning of the 21st
century, through scratched plastic obsolescent
National Health Service trifocals. A (largely
second-hand) Freud and his followers when I
read down, a vibrant unreachable indubitably
post-modern far distance as I read up. Always a
blur as I move through the middle. Would
someone who knows more be helped or
hindered by a greater background knowledge?
them, not hidden but veiled? Mull them over,
or read on? Having found one such page, do
you search for others or leave it until later?
Are the words a commentary, an exegesis, a
counterpoint?
Read. For the story is thrilling -- in two
paragraphs the young Jeronimo has attained
the summit of his happiness (in Constantine's
version), consummated his love (in Taylor's)
and an elided nine months later, Josepha sinks
down to the ground in labour. By the third
paragraph she, rendered criminal, is on route
to the scaffold. By the fourth, young ladies
(Taylor) or pious daughters of the city
(Constantine) hang out windows to view the
spectacle offered to (Constantine) or mounted
for (Taylor) divine vengeance. Then, just as
Josepha is about to be beheaded (Constantine)
or burnt at the stake (Taylor), and while
Jeronimo is testing the knot on his self-made
noose -- the earthquake.
All I can assert is that there is a difference
between
“…and as though one fearful impression had
driven all previous impressions from his
[Jeronimo's] mind he wept for joy that life in
its sweetness so full of bright phenomena was
still his to delight in [Constantine]”
and
“as though that one terrible event had
completely banished all earlier visions from
his mind, he now wept for joy that he was still
able to revel in the manifold delights that life
had to offer [Taylor]”.
Having enjoyed the rubble, the screaming
people on burning rooftops, the men and
animals struggling with the flood, we pass
outside the city gate with Jeronimo. He faints,
comes to, and a spirit of bliss takes hold of him
as a west wind blows, and he looks down on the
loveliness of the land. Josepha in the meantime
has seen a convent-full of nuns crushed, the
corpse of the archbishop, her father's house
submerged in a lake boiling with red vapour,
and the destruction of the law court where her
sentence was passed. She too has escaped the
city and has crept, baby in arms, into a dark
valley shaded with pine trees.
An impression or an event? Joy that life exists
and that the bright phenomena are still there
for us to delight in? Or joy that one can still
revel in the delights, rather than sink into
dejection and melancholy? The passages
neither evoke, nor mean the same thing.
By now the rhetorical devices which shape the
story begin to reveal themselves. Our reading
post-dates the emergence of a critical
vocabulary which accommodates such insights,
and we can foresee that the story will fold back
on itself, and that Josepha and Jeronimo, will,
after the passage of a day of horror and a night
full of wonder, meet the death to which they
were on route as the story opened. The desire
of the story is to hold out or tantalise with the
threat of their deaths, postpone it with vivid or
lyrical descriptions, and then, in a shortish
paragraph, bring about their deaths, and the
death of a baby – not of their baby, little Philip,
but of little Juan. This doubling back, postponed through wandering and puffed with
incident, is the space of the story. It would be
tedious to tell you the plot.
I can read no longer without thinking of the
time of the writing (probably 1806), and of the
writer, of Kleist (1777-1811). The hills, the
valley, the pines and the hordes of distressed
people without number bring me back in time
into the mental space of the last years of the
eighteenth, the first years of the nineteenth
century. But whose time? Not only can I not
propel myself back – well who could? -- but I do
not even know German. Literally, I must read
in translation. Constantine, properly, translates
through Kleist’s older contemporary, Kant
(1724 –1804) and other philosophers. Taylor
through the philosophical poet Coleridge
(1772-1836). And I – astigmatic, myopic and
68
the printed story in one go. The only
substantial physical movement you will have
executed is to turn the pages with, at most, an
occasional peep under the pasted rectangles.
Your movements will have been automatic and
unthinking.
It is also the time of the story, namely a time
suspended between the moment before the
deaths of Jeronimo (by hanging) and of
Josepha (by lawful execution) which never take
place and their actual deaths about 24 hours
later. Do you remember that short story by
Borges where a man, about to face the firing
squad, is granted enough time in the short
duration it takes him take his last walk, to finish
his last work? Borges has described story time.
Your reading will not have taken very long, but
if you are entranced by the story, it will have
seemed to have taken even less. Neither the
actual time it takes you to read, nor the
duration of the narrated time (essentially the
events of two days with references forward and
back) correspond with the time you perceive to
have passed.
And your desire to read, to read on, creates the
story, which (as we all now know, or believe) is
nothing but a heap of marks on paper until you
start to read. The omissions and phrases in
faint print in this edition, do not substantially
hinder you, I surmise, until the very end when
you reach the last of the printed rectangles, the
last paragraph – set some time later and in a
house back in the city. This last paragraph
contains the after-story, which, like the end of a
Jacobean tragedy, points to what happens next,
outside or after the story and in consequence
of it. You will see that the very end has been cut
out. An omission it is hard to overlook.
I hypothesise that the task of the writer, of
Kleist, is to fuse imaginative time and space so
that the reader is mentally translated to a
fictional elsewhere in such a way that the actual
passage of time becomes irrelevant. Time and
space are obliterated.
So what does this artist’s book do? I would be
surprised if you can untie the blue-grey ribbon,
which has prevented you from gaining access to
the second half of the notebook, without a
qualm. For it must be clear that by so doing,
you will inevitably damage the notebook – the
object which is an artist’s book -- and that the
next time you or someone else comes to look at
it, it will be grubbier, more tattered, as an art
object -- less crisp and, to some, less desirable.
Its monetary value will decrease. The automatic
forward movement of reading is halted and you
are forced to decide your move. Get up, get a
drink of water like the reader in a Calvino
story? Leave the untying for a more enthusiastic
reader or a more propitious time? Untie the
ribbon with the air (guilty or triumphant) of
someone who may be opening Pandora’s box?
And while the object left my possession with the
ribbon loosely tied, who is to say the next
readers will tie it so scrupulously? Some may
leave the legacy of a tight knot.
Now you can unbundle the back half of the
notebook.
Pause, I would like to backtrack. The story puts
you in two different historical spaces. You are
indifferent to the first (Chile in 1647) and
perhaps more alert to the second (early 19th
century Europe) than the original readers
would have been. They would have taken that
for granted.3
Imaginatively you are in a geographical space
which is probably unknown to you, though it is
not a strange space. Santiago is described in
terms which make it sound like a European city,
and its landscape is – more or less – the
romantic landscape with which you will be
acquainted, though you must remember that at
the time the story was published, the great
paintings of Caspar David Friedrich (1774 1840) which spring to your mind, had not yet
come into existence. Kleist’s first readers will
have had a different concrete visualization of
the scene. Literally, in real space, you probably
remain in one place, and after you have made
your initial investigations into the nature of the
first half of the notebook, you will have read
And once you have untied the ribbon, and seen
that the second half is mostly blank, though
some pages contain phrases in pencil
(corresponding to Constantine’s translation) or
in ink (corresponding to Taylor’s), you will
realise that to look thoroughly, you will have to
keep referring back of the first part. You will
69
2. This artist’s book contains the full text of
Honoré de Balzac’s story Le Chef d'Ouevre
Inconnu Sarah Jacobs, translator and maker.
Colebrooke Publications, London, 2002,
ISBN 0 9527537 4 1.
also realise – perhaps for the first time – that
the pages are unnumbered, so you will have to
hunt. The hunt will take time. You must set
aside the time. Unless you are very careful, the
hunt itself will cause the further degeneration
of the book as your greasy fingers (I do not
mean this to be insulting – we all have them)
pinch the pages and mangle their corners.
You cannot execute your reading without
becoming aware of your hand's movement
through the physical space of the book. If only
because the physical manipulation has become
more difficult, you are more likely to be aware
of the time that is passing while you explore. It
no longer flows. It moves in jerks. You fidget,
pause to tear up pieces of paper to act as ad
hoc book marks, perhaps take notes. You are
not in a fugue. You consciously quest.
3. Kleist’s fictions, as opposed to his essays, are
generally set in the far away and long ago.
I – perhaps inevitably -- read them as being
about his own time. His original readers may
well have done so too. However, obviously, our
understanding of their time (which is shaped
by our knowledge of what happened after) may
be quite different from theirs.
If Kleist’s story causes time and space to fuse,
the artist's book sunders. Though only of
course if you let it – if curiosity, if a sense of
duty, if something you cannot label (desire)
propels you -- creates the time and space.
Already you know what you will find. By now
you catch my drift. Taylor and Constantine
translate the last words differently. Their
choices do not mean the same thing, though
they have in common -- that they are both
mysteriously unclear. Does the end show you
what the story is, or has been, about? There is
no answer and the signpost of the ending
points here, or points there.
Sarah Jacobs Colebrooke Publications
65 Colebrooke Row, London N1 8AB
notes
An installation and books by Sarah Jacobs
will be shown at:
Bookartbookshop
17 Pitfield Street
London
N1 6HB
3rd - 24th October 2003
Hours: Weds - Fri 1pm - 7pm
Sat 1pm - 6pm
Tel: 020 7608 1333
www.bookartbookshop.com
info@bookartbookshop.com
1. You are looking at an untitled artist’s book by
Sarah Jacobs (described as a redactor) which
contains the full text of The Earthquake in Chile
by Heinrich Von Kleist. Ronald Taylor,
translator. Angel Books, London, 1985.
This text is compared with The Chilean
Earthquake David Constantine, translator and
editor. J. M. Dent, London, 1997. The book is
now in the collection of the National Art
Library at the Victoria & Albert Museum.
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71
72
73
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A substantial number of artworks from the
Penrose collection were added shortly
afterwards. The following year we received the
bequest of a second great collection, that of
Mrs Gabrielle Keiller who was one of the
Gallery’s advisors from 1978 - 1985. Included in
the bequest was her library of surrealist books
and periodicals. Together these two collections
give the Gallery a world-class resource of all
types of material relating to Dada & Surrealism.
The Special Books Collection of The Scottish
National Gallery of Modern Art
Ann Simpson
The Scottish National Gallery of Modern Art
first opened its doors to the public in 1960.
The collection spans the major international
art movements of the 20th and 21st centuries
in all media. It was decided early on to develop
a Special Books Collection to document the
interaction of the artist with the book and to
reflect the diversity of format that has
developed during the period. There are now
over 4500 titles in this collection with a
particularly strong holding of Dada and
Surrealist books and over 2050 titles dating
post-1960. The gallery has a dedicated budget
for the collection and each year acquires both
items lacking from the historical collection and
cutting-edge books by contemporary artists.
Roland Penrose was a key figure in the British
art scene from the 1930’s until his death in
1984. He lived in France from 1922 - 1935,
pursuing a career as a painter. Here he
encountered artists and writers of the surrealist
movement; his circle of friends included
Breton, Eluard, Ernst, Miró and Picasso. With
the young poet David Gascoyne, he was largely
responsible for bringing Surrealism to Britain.
He was one of the organising committee for the
controversial but influential International
Surrealist Exhibition held in London in 1936.
His superb collection of mainly cubist and
surrealist art was assembled in the late 1930’s
and included several important works
purchased from Paul Eluard. After the war he
was closely involved with the foundation of the
Institute of Contemporary Arts. He was a close
friend of Picasso and wrote the first English
biography of the artist. He also wrote
biographies of Miró and Tàpies and organised
countless exhibitions, often lending from his
own collection and that of his second wife, the
photographer, Lee Miller.
Among the highlights of the historic collection
are copies of Oskar Kokoschka’s Die Träumenden
Knaben (Leipzig 1917 edition), Wassily
Kandinsky’s Klänge (Munich 1912 [1913]), Der
Blaue Reiter Almanach (Munich 1912) and Ernst
Barlach’s Die Wandlungen Gottes (Berlin 1922).
French publications include Blaise Cendrars
and Sonia Delaunay’s La Prose du Transsiberian,
(Paris,1913), Fernand Léger’s Fin du monde
(Paris 1919), and Henri Matisse’s Jazz (Paris
1947-1948). British artists are represented by
Charles Ricketts, William Nicholson, F.C.B.
Cadell, Paul Nash, Wyndham Lewis and Lucian
Freud.
The Penrose Library is particularly interesting
as it represents the complete working library of
a Surrealist artist and reflects the diverse
concerns of the movement. It comprises over
10,000 books, exhibition catalogues and
periodicals on Dada, Surrealism and modern
art in general. Among them are a number of
important livres d'artiste and artists’ books,
many containing inscriptions, original prints
and special dedicatory drawings. There is a
complete collection of his friend Max Ernst’s
collage novels including an hors commerce,
dedicated copy of Une Semaine de bonté (Paris
1934). Penrose had financed this publication
and the archive contains correspondence about
the development of the project between
Penrose and Jeanne Bucher, the publisher.
During the 1990’s the Gallery made a series of
notable acquisitions with the object of building
up its Dada and Surrealist holdings. These
movements involved poets, writers, musicians
and artists who were eager to tear down the
boundaries between art, poetry and literature.
Therefore in order to represent the movements
adequately, it was necessary to extend the
collection into these areas. In 1994 with the
help of the National Heritage Memorial Fund
and the National Art Collections Fund, the
Gallery acquired the Archive and Library of Sir
Roland Penrose, one of three great collectors
of Dada & Surrealism in this country.
77
Gabrielle Keiller, the other great collector,
had been married to the distinguished
archaeologist Alexander Keiller (of the Dundee
marmalade family) who died in 1955. Her
interest in modern art began in 1960 when she
visited Peggy Guggenheim's art collection in
Venice and saw the work of Eduardo Paolozzi
exhibited at the Biennale. It was Paolozzi who
encouraged her to include surrealist works in
her art collection.
The Penrose & Keiller Libraries are remarkably
complementary, with little duplication. Both
contain key works by Hans Arp, André Breton,
Salvador Dalí, Max Ernst, Paul Eluard, Man
Ray, Francis Picabia, Yves Tanguy, Tristan Tzara,
working alone or in various combinations.
Since 1995, the Gallery has continued to collect
dada & surrealist publications most notably the
periodical Dada, the exhibition catalogue
Surrealism en 1949 with Duchamp’s special cover
of a foam breast laid on a black velvet cloth,
and most recently André Breton’s own copy of
Tristan Tzara and Marcel Janco’s La Première
aventure de M Antipyrine (Zurich 1916).
Both Mrs Keiller and Roland Penrose collected
books out of the surrealist movement. Penrose
had an especially fine collection of books by his
friends Picasso, Miró and Tapiès. Most of these
livres d’artiste contain unique dedicatory drawings. Among the highlights are Picasso’s Vingt
Poèmes de Gongora, (Paris 1948) inscribed by
Picasso, with a full-page original drawing by
Picasso in coloured inks of a man on horse on
the title page. The book was given to Penrose
by Picasso during his visit to Britain for the
World Peace Congress held in Sheffield in
1950. Joan Miró’s Je travaille comme un
jardinier, (Paris 1963) similarly has a watercolour drawing enclosed at the front that is
dedicated to Penrose and Lee Miller as does
Antoni Tàpies’s, Nocturn Matinal, (Barcelona
1970). Penrose’s connection with the ICA
brought him continued contact with the
contemporary art scene and his book collection
was enriched with examples of work by Dieter
Roth, whose little tentative recipe, (Stuttgart,
1969) was sent to him by the artist through the
post; it’s box still bears the stamps. Other titles
include Arte come Pre-Testo/Art as Pretext, by
Momo, (Rome, 1976), Ed Ruscha’s Twenty-six
Gasoline Stations (Alhambra, 1963) Some Los
Angeles Apartments, (Los Angeles 1970,) and A
Few Palm Trees, (Hollywood 1971) and Gui
Rosey and Hans Richter’s, Faits Divers, Faits
Eternels, (Paris 1972).
The Keiller Library
Photograph © National Galleries of Scotland
Mrs Keiller’s Library is a collector’s library
distinguished by the consistently high quality of
the material - fine bindings, rare editions and
books which like Penrose's, often contain
special dedicatory inscriptions and drawings.
There are many examples of first issues of
limited editions, which contain rare prints, and
manuscripts and sketch material. Many of these
came from the library of Georges Hugnet, who,
as artist, poet, writer, bookbinder, and
publisher, was a key figure in the production of
surrealist books in Paris. Among the Keiller
treasures is a de-luxe edition of Marcel
Duchamp's Green Box (Paris 1934), dedicated to
Hugnet and which complements Hugnet’s
de-luxe edition of Duchamp’s Boîte en valise
(1935 - 1941) also acquired by Keiller and given
to the Gallery. Hugnet and Hans Bellmers little
book Oeillades ciselées en branche (Paris 1939) can
be seen as the perfect example of the surrealist
livre d’artiste. Mrs Keiller acquired Hugnet’s
own copy printed on violet-scented paper,
complete with rose leather book-box lined with
silk-gauze and dried violets that he made for it.
The collection also has copies of Bellmer’s Die
Puppe (Karlsruhe 1934) and La Poupée (Paris
1935) as well as the artwork and manuscript for
Les Jeux de la poupée (1938 - 1939, but not
published until 1949).
Gabrielle Keiller also had a lively interest in
contemporary art and encouraged many
younger British artists such as Richard Long,
Hamish Fulton, Gilbert and George, Bruce
McLean as well as Paolozzi. She acquired work
by Roy Lichtenstein and in 1976 commissioned
78
From the collection, clockwise from top left: Smith/Stewart Lovebite, 1995; Damien Hirst, Robert Sabbag and
Howard Marks Snowblind: A Brief Career in the Cocaine Trade, 1998; Morning Star Press Anthology, 1997; Jaqueline
Donachie Part Edit, 1994; Roderick Buchanan Work in Progress, 1995; Deb Rindl Parallel Lives, 1995
Photograph © National Galleries of Scotland
Georges Hugnet and Hans Bellmer Oeillades ciselées en branche, Paris, Éditions Jeanne Bucher (Paris 1939)
Photograph © National Galleries of Scotland
a portrait of her dachshund Maurice from
Andy Warhol. This interest is also reflected in
her Library which contains most of Paolozzi’s
book productions - Metafisikal Translations,
(London 1962), The Metallization of a Dream
(London 1963), Kex (London 1966), Abba-Zabba
(Cologne 1970). International Pop Art is represented by Walasse Ting’s Ic Life (Bern 1964)
and Lucas Samaras three-dimensional Book
(New York 1968). Later came Daniel Spoerri’s
Krims-Krams Magie, (Berlin 1971), and Dieter
Roth’s Gesammelte Werke, Band 6, (Reyjavik,
Dusseldorf, London, 1971). Mrs Keiller was one
of the very early subscribers to Bruce McLean
and Mel Gooding’s Dreamwork, (London 1985).
Access and display
Members of the public as individuals can study
books from the collection in the Gallery
Reading Room by appointment. There are also
regular seminars on Artists’ Books and
Bookmaking held for students as part of their
coursework.
To make the collection available to a wider
public, during the 1999 conversion of the Dean
Orphanage into a new Gallery, one of the
smaller rooms was fitted out as a display library.
Dedicated to Mrs Keiller, both the Keiller and
Penrose books are shelved here together with
two Cabinets of Curiosities, recreated from
Penrose’s houses in London and Sussex. The
displays change every twelve weeks and cover
work from the historic collection and new work.
Among recent displays have been: A word for the
Mantelpiece: The Work of Thomas A. Clark &
Laurie Clark, 2001 and A Library for a Justified
Sinner, in association with Pocketbooks 2002.
Book material is also incorporated into other
Gallery exhibitions. The major summer
exhibition of 2002 New, Recent Acquisitions of
Contemporary British Art included a large
section of artists’ books. These included work
by Roderick Buchanan, Tacita Dean, Jacqueline
Donachie, David Faithfull, Ian Hamilton Finlay,
Douglas Gordon, Damien Hirst, Julian Opie,
Deb Rindl, David Shrigley, Bob and Roberta
Smith [Patrick Brill], Stephanie Smith and
Edward Stewart, Tim Staples and Catherine
Yass.
The Gallery’s collection has grown steadily over
the years. Scottish artists and authors are well
represented. The Gallery has an almost
complete holding of the printed work of Ian
Hamilton Finlay and the Wild Hawthorn Press.
These include prints, cards, folding cards,
booklets, books and proposals. Other artists
include Callum Innes, Alan Davie, John Bellany,
Bruce McLean, and Adrian Wiszniewski. The
Gallery’s copy of Wiszniewski’s For Max,
(London 1988) is unique, with text added in
biro by the artist during a visit to the Gallery.
There is a strong holding of books by Hamish
Fulton including Hollow Lane, (London [1971])
Skyline Ridge: Four Connecting Walks on Southern
England, (London 1975), Song Of The Skylark:
Midday Hawk . Mice in the Hedge., (London
1982) and A Twelve Day Walk And Eighty Four
Paces, (London, 1991). Gilbert and George
titles include Side by side: Gilbert & George, the
sculptors, 1971, (Cologne 1972), A Guide to
Singing Sculpture by George & Gilbert, the human
sculptors, (London 1973), Red Boxers series,
(London, 1975) and Dark Shadow (London
1976). The publications of Bookworks, Coracle
Press, Morning Star Press, Weproductions and
Workfortheeyetodo are all represented.
From further afield titles include Sol Lewitt’s
Location of lines, (London 1974), Andrea
Zanzotto and Joe Tilson’s Circhi e Cene (Circuses
and Suppers) (Verona 1979) and John Cage’s
Rolywholyover: a circus, (Los Angeles 1993).
More recent additions have been works by
Christine Kermaire and Maddy Rosenberg.
The Gallery also has a complete run of Krater
und Wolke, ed. Ralf Winkler (A.R. Penck)
(Cologne 1982 - 1990).
As part of the move to the Dean Gallery, an
automation programme for the catalogues of
the Special Collections, Archive and Gallery’s
Reference Library is currently underway.
Access to the Special Book Collection, Archive
and Reference Library is by appointment only.
For information please contact:
The Senior Curator Archive and Library or the
Librarian, Scottish National Gallery of Modern
Art, The Dean Gallery, 73 Belford Road,
Edinburgh EH4 3DS
gmaarchives@nationalgalleries.org
Telephone: 0131 624 6252/6253
Ann Simpson
Senior Curator Archive and Library
80
Roberta Bridda Libro fluxus ink on sanitary pad, cancelled typewriter text,
one-of-a-kind, 2002
Roberta Bridda Col ricordo infine 12 x 12 cms, watercolour, ink,
collage, one-of-a-kind, 2002
Roberta Bridda Lettere al direttore 14 x 20cm, altered book with Xerox transfer, one-of-a-kind, 2002
In interviewing the artists, I focused on the
individuals approach to the process, specifically
asking them their interpretation of the artist’s
book. The artists have responded candidly to
my questions, touching on the essence of their
ideas and aesthetic sensitivities as well as their
processes.
Gli Italiani - The Italians
Carrie Galbraith
“The book is a place where you can wait for
somebody, a place in which to search for
something that is lost, or perceived lost, and to
find it again, in your hands, through the
pages.” - Roberta Bridda
All of the artists have seen many international
exhibitions of artists’ books. They have found a
“spirit of common intentions” in the books,
even if the language and techniques have been
different. To quote Lia Malfermoni, “each book
is original, different and unique. The country
of creation is the inner homeland, inside the
artist.”
Roberta Bridda (see opposite) studied at the
University of Architecture in Venice and wrote
her dissertation on artists’ books, placing them
in the same structural territory as buildings. In
1997 she saw an exhibition of books and began
considering the possibilities of the medium,
describing the artists’ book as “an open shape,
a home, a body and a journey.” Roberta has
said that the book “creates a need to think
about language, a place where codes mix
together, where the text can be an image and
the image can also be text. With books, the
idea is to stay awake in front of reality and
dreams, living one’s multiple lives.”
Class in Libro d’Artista Scuola Internazionale di Grafica,
Venice, 2002
Loretta Cappanera
Ali di Carta (1)
23 x 18cms,
cut paper and
collage,
one-of-a-kind, 1994
Italy has a long tradition of artists making
books, from illuminated manuscripts to
innovative early printers, from the Futurists to
artists and designers such as Bruno Munari in
the 60s and 70s. Today there are a number of
small independent presses and artists working
in the book form in Italy such as Corraini in
Mantua and Alberto Casiraghy and his Edizioni
Pulcino Elefante. In this article, I have chosen to
focus on six artists who, unlike the monk
labouring a lifetime in the scriptorium, vary
greatly in their disciplines and age. They are
architects, designers, anthropologists, social
workers and teachers yet they share the
common bond of the love of the book. They
have all studied at the Scuola Internazionale
di Grafica in Venice, whose artistic director,
Matilde Dolcetti, has been a great influence
and supporter of their explorations.
In 1993, while searching for a way to express
her desire to communicate and give testimony
to the inner journey, Loretta Cappanera began
working with artists’ books. She does not
distinguish between “art” and “book,” finding
the book a valid vehicle by itself. For Loretta,
the book is a witness to the personal vision
quest and is full of movement. She perceives
the materials used in the creation of the book
as leading to a continuous exploration of the
form.
83
In 2002, out of a desire to understand
publishing and communication, Loretta
initiated Belles Pages a small press project.
Conceived as collaboration between Italian and
French poets and artists, Belles Pages is more
than just beautiful words. There is an intent to
promote pleasure in the viewer from touching
the paper, caressing the binding and
encountering the etched lines on the page.
These small books (A5 format) are hand-bound
in editions ranging from 25 to 50, with letter
pressed covers, an original print and computer
generated text on high quality paper. Belles
Pages will eventually realise a total of 7 editions
annually.
Loretta Cappanera Ali di Carta (2) 26 x 36 cms, thread and
woven paper, edition of 2, 1998
Morena Coppola Un Libro Gioco monotype, one-off, 2002
Loretta Cappanera Libro bianco 40 x 30 x 10cms closed,
37 x 900cms open, woodtype, one-of-a-kind, 2002
Above and below: Morena Coppola Salehah 22 x 30 cms,
mixed media, one-of-a-kind, 2002
Loretta Cappanera Collezioni di Sabbia 22 x 17 cms,
letterpress and collage, edition of 5, 2002
84
For some years Morena Coppola studied art
and art history, attended exhibitions and tried
many different mediums in search of a
instrument for her unique voice. In 2000
she found the artist’s book and began
experimenting and investigating the many
possibilities. Morena believes that the book is
part of the individual, that it challenges and
gives advice about the discipline, that it follows
the thought process until a solution is found
and one is ready for the next level of
exploration. She feels it expands creativity and
softens the encounter when diving into a
surface. In the book, there is a passionate
emotion that has no room for compromise.
Lia Malfermoni began making artists’ books
in 2000 after becoming interested in the
possibility of working in three dimensions.
She began to extend her explorations to
include the sequencing of words and images,
using them to communicate emotions and
thoughts and as a declaration of her passions
and beliefs. She feels that the book also holds
an element of play, a game. As Lia has
described it, an artist’s book is
“experimentation, revelation, learning, work,
memories, discussion, the meeting, the
moment, the risk, the telling, the passion, the
becoming, the listening, the sensibility, the
glancing, the soul.”
“An artist book is a kind of expression of my
soul, it’s a self-portrait, a declaration of
correspondence with myself, with my words and
my feelings for others. It’s my thoughts
expressed to others who want to interact, it’s a
diaphragm-volcano that doesn’t want to stop,
and it discovers facts that I cannot understand
rationality. It’s always surprising. But it’s also a
response to that with which I do not agree.
It is the possibility of political reply and the
opportunity to reveal and redeem by
disagreement. It’s a strong wind, it’s convincing
to the extreme, it’s passion. Each book is a sort
of homecoming to Pompeii where, upon
arriving, one finds it is their hometown. It’s
resting in the sleeper’s vegetable-garden, its
relief at the Temple of Isis, its magnificent
collaboration.”
Above and below: Lia Malfermoni Corpetti
25 x 35 cms, woodcut & watercolour
edition of 7, 2002
Lia Malfermoni Erranti 224 x 40 cms (open), 49 x 49 cms
(closed), mixed media, one-of-a-kind, 2002
85
“An artist’s book is a handmade work that takes
advantage of the ideological inheritance of the
language of books but uses its structures,
materials, languages and codes to get far away
from the standard communication systems
found in every traditional book. It’s an object
that forces us to decode systems of
communication for transmitting messages,
systems that are comfortable and that are found
in books available in bookstores and libraries,”
she says.
In artists’ books, she feels that the real quest is
playing with the semantic significance as given
to letters, words and some materials. She finds
that there is a possibility to work with the
meaning as expected from one system of words,
while creating another way of reading by giving
the words an alternate significance. The game,
she thinks, is in the decoding, provided one is
willing to see things differently. As she says,
creating all art, not just books, is a study in
anthropology and sociology.
Giuseppe Perezzan came in contact with artists’
books in 2000, in Venice. He became fascinated
with the freedom and possibility for expression
that the medium allows. He found within the
book form the possibility to include the use of
widely differing processes and techniques,
offering a way of working which forces one to
think about the task from multiple points of
view: conceptual, structural and aesthetic, and
as such, demands concentrated time and effort.
Images above: Stefania Missio Gli Amanti di Pietra
32 x 34 cms, linoleum print, collage, thread on
Japanese paper, edition of 10, 2002
Stefania Missio studied medieval history
followed by paleontology and codification
courses where she became interested in the
history of the book. At the Accademia delle
Belle Arti in Rome, she wrote her thesis on
“History, Aesthetics and Instruments of the
Artist’s Book.”
Always interested in challenging his point of
view, Giuseppe tries to reinterpret all that he
encounters. Deriving his inspiration from
day-to-day occurrences, he is often struck (with
pleasure or otherwise) by facts, impressions,
readings and sheer coincidences. From this
he takes the opportunity to define these
occurrences and give them form, to express the
ideas in a work, in something that he feels can
enclose the moment. It is never an instant task,
easily carried out. He finds that he requires
plenty of time to discover the expression of a
book. There are advantages to this slow
approach, he says, as it allows the idea to
become deeply rooted, coaxing the best from
the project, making it more effective, creating,
in the end, a more complete book.
Stefania thinks of the book as an essential
organ for human beings. Before studying and
making artists’ books, she understood the book
only in terms of a device for illustration.
Learning that one can go beyond the usual way
of projecting through sequencing and the
integration of text and image as well as the
altering of size, Stefania has opened to an
artistic and expressive quest, creating and also
experimenting with the book from different
perspectives.
86
Each artist interviewed has found, in the book
form, a vehicle of expression singularly suited
to his or her unique interests and concerns.
While each is working with different processes
and approaches, they share an enthusiasm that
connects the artists by an invisible thread,
binding them to the long tradition of artists’
books in Italy.
The following is a list of courses, exhibitions,
museums and collections of artists’ books in
Italy. The list is by no means complete, as
interest in the artist’s book in grows daily.
Above and below: Giuseppe Perezzan Errare
24 x47 cms (closed), 112 x309 cms (open) cyanotype on
paper, text by Mauro Lazzaretti, edition of 4, 2002
Schools
Venice: Scuola Internazionale di Grafica di
Venezia an independent centre for the Visual
Arts with courses in printmaking, book arts,
graphic and web design, painting and drawing
and providing residencies in the visual arts.
www.scuolagrafica.it/
Cortona: University of Georgia Arts Program at
Cortona courses in papermaking and book arts
in the spring, summer and fall semesters.
www.visart.uga.edu/cortona
Florence: Santa Reparata Graphic Art Centre
printmaking, papermaking, drawing and book
arts courses and workshops.
www.fionline.it/santareparata/welcome.html
Exhibitions
Libri Mai Mai Visti (Books Never Ever Seen) An
annual juried exhibition in Russi (near
Ravenna) since 1995. Open to international
submissions, catalogue each year, organised by
the Vari Cervelli Associati (VACA).
www.vaca.it (website in English, Italian and
German)
Annual International Review of Artists’ Books An
exhibition in Rome open to international
submissions, sponsored by La Tana Spazio dal
1999, a non-profit organisation, whose purpose
is the study, research and promotion of reviews
Giuseppe Perezzan Abbiti mille baci
cyanotype on cotton, 150 x 30 cms (book), 33 x 7 x 5 cms
(box), edition of 6, 2002
87
and exhibitions about artists’ books, both
national and international.
http://utenti.lycos.it/latana1999
Collections & Other
The Contemporary Art Museum Luigi Pecci in
Prato (near Florence) has a small collection of
artists’ books dating from the 1960's, with many
Italian artists’ books. Not a permanent
exhibition, call for an appointment.
www.comune.prato.it/pecci/gener/eng/home.htm
Tipoteka Italiana in Cornuda (near Treviso) An
excellent typography and printing press
museum.
Biblioteca Poletti in Modena (near Bologna)for
artists’ books exhibitions, collection.
Galleria Martano in Turin has artists’ books
exhibitions.
Central National Library in Florence Fondo
Bertini (Gabinetto Stampe) collection.
MART a new modern art museum in Trento
with artists’ books in the Archivio di Nuova
Scrittura.
The National Library in Rome has set up a
small area for artists’ books exhibitions and
houses a growing collection.
For articles on artists’ books and print/works
on paper in Italy (including workshops) visit
www.printworks.it
Carrie Galbraith
Fellow
Scuola Internazionale di Grafica, Venice, Italy
Special thanks to Giuseppe Perezzan for
translations.
88
persons or of a public or private institution, etc. etc.
(Librarian’s Glossary)
ARCHIVE: a race against the instant?
Chris Taylor
“So archives, some people say, are the memory
of an organisation, or in some cases something
to do with the life of a person. Yet, in popular
parlance, the word 'archive' is often applied to
collections of things, an archive of bird's eggs
or something, and it seems to be inappropriate.
So, I'll just say that I do have problems with the
word ‘archive’ attached to artists’ books but it's
one of those things like the phrase "artist's
books" itself, which won't go away, and that's
not very satisfactory either.
In March 2001 a Regional Arts Lottery Project,
Contemporary Artists Books & Related Events,1
was established providing the opportunity to
develop a number of research interests related
to artist’s book production. These included the
Contemporary Artists’ Book Fair as a focus for
discussion, exchange and dissemination; a
series of public workshops highlighting the
processes and production values involved in
the making of such objects; SYMPOSIA, three
round-table events exploring book-related areas
of collecting, audio/visual and interpolation;
IMAGE and TEXT, two separate publications
exploring the book format/the format of the
page and, finally, ARCHIVE, a collection of
artists’ books, catalogues and documentation.
However, this archive is not only a history, but a
snapshot of contemporary practice in which
the genre of artists’ books is explored,
discussed and disseminated to both dedicated
and new audiences. ARCHIVE is a living history,
an accessible and tangible resource made
available as a portable exhibition. As Victoria
Worsely, Archivist at the Henry Moore Institute
noted,
ARCHIVE is a collection, a history, an
exhibition, a resource. The collection
comprises 55 artists’ books, (57 if you include
the three individual items contained within
IMPACT’s Correspondence), purchased primarily
from participants at the 2001 and 2002
Contemporary Artists’ Book Fairs.2 It includes a
cross selection of artists’ publications produced,
exhibited and available during that specific
period.
“Archives are often seen as dark spaces,
stereotypically located in the basement, and this
space signifies a burial or entombment of
things past. In archival theory, all information
produced fits into what is called the ‘life cycle
of the record’. When it is created and being
used by its creator, it is termed a ‘current
record’. When its active life is over, but it is still
used occasionally, it becomes ‘semi-current’ as a
record that isn’t needed all of the time but may
occasionally be referred to. And only when it
has no use in the present by its creator and is
determined as valuable enough to keep for
posterity does it take on the attributes of an
archival record. Archives, because they
normally begin at the end, are therefore
inextricably linked with the notion of death.” 4
The term ‘archive’ can be problematic as a way
of labelling a collection of contemporary art
works. ‘Archive’ can suggest a past history,
rather than a reflection of the contemporary.
In the first of the three SYMPOSIA3 events held
at the Henry Moore Institute, Leeds in 2003,
Clive Phillpot questioned the application of the
term ‘archive’ to artists books.
"It seems to me that for some reason the idea
of 'archives' got attached to artist's book
collections. I don't really understand why. I'll
read you a definition of archives that might
perhaps make you understand why I have a
problem with this:
Usually, collections of whatever type are
acquired and grow until every item that could
possibly belong within them have been
collected, the collector loses interest or the
collector dies. ARCHIVE never had the luxury
of endless funds, but was defined from the very
beginning by a set budget, a decision to
incorporate a diverse range of production
techniques and, most importantly, to highlight
the array of conceptual experimentation
Archives - Definition 1. Public records of selected
materials kept in a recognised archival repository.
And 2. The accumulation of original records
assembled in the course of activities of a person or
91
“Jacques Derrida’s work on the archive
investigates the concept as being one sited in
the idea of the house: the Greek word arkeion
being the house or residence of the superior
magistrate. From this domestic and yet
authoritative location Derrida begins to view
the archive as lying between the public and the
private, and between the coldness of the law
and the intimacy of the home. He suggests the
process of collecting and archiving (with their
insistence upon distance and dislocation from
the immediate and the actual) affects and
colours the very body of material which is being
scrutinised. The archive can only ever be a
distorted lens through which phenomena are
addressed. With the advent of email, an
instantaneous mode of communication, untold
stress is placed on the idea of the archive.
It threatens received ways of ordering material
with destruction. What ensues is Derrida’s
‘archive fever’: a race against the instant and a
plea for a distancing from phenomena.” 5
currently at play within the structure and
function of the book format. It is important to
understand that ARCHIVE did not “begin at the
end”, but came to life at the very beginning of
the project, even before a number of the books
which now reside in it were even conceived,
such as Colin Sackett’s Speakers or John Bently’s
The Rainbow Makers.
At the outset, the decision on what to select,
though a seemingly envious position to hold,
proved far more difficult than anticipated. It
was never the intention to create an overview of
the most prominent artists working within this
field, but rather, to provide an educational
resource that would inform and inspire a wider
audience through the book’s natural interplay
of space, rhythm and sequenciality. Yet, as the
collection developed, the overall visual aspect
would change. Books purchased in the early
stages were ‘withdrawn’ and either exchanged
with the artist or replaced by that of a different
producer. Certain books became superfluous
within what is basically a small, tight-knit
community of objects and, eventually, the
curators’ aesthetic judgements came in to play.
The contents of the complete ARCHIVE are
documented in an index, a ring-bound series
of cards which, as well as providing artist,
imprint, media and date of publication details,
contain a short description of the book written
and compiled by the curators. By chance, the
index has become a collection in itself, a series
of thoughts inspired by 55 objects. The
individual descriptions are intended simply as a
stepping stone into the content of each
particular book providing the reader/viewer
with an opening into some of the more abstract
concepts and formats. From Conor Lucey’s
minimal Accidental (Australian) Waterfalls to
Pavel Büchler’s bureaucratic What the Cleaners
As a temporary measure, purchased books were
stored in sets of commercially available
cardboard drawers, the design of these units
becoming the benchmark around which the
maximum size of the books was determined
(A4) and the final storage constructed.
Eighteen drawers, set within a bespoke wooden
cabinet, now house the books. Those drawers
not containing the maximum size books are
sub-divided to hold the smaller publications in
place, with each drawer incorporating a list of
contents pasted on the inside.
92
Found, each publication’s title and description
have no obvious connection with the next
except the means to incite the curiosity of the
reader/viewer.
notes
1. Contemporary Artists’ Books & Related Events
a Regional Arts Lottery Project funded by the
Arts Council of England March 2001 – 2003.
Co-ordinated by Chris Taylor and John
McDowall, curators of the International
Contemporary Artists’ Book Fair, held annually at
Dean Clough, Halifax.
2. Illustrated catalogues from the 2001 and
2002 Contemporary Artists’ Book Fairs are
housed within ARCHIVE.
3. SYMPOSIA, held in collaboration with the
Henry Moore Institute Library, Leeds, 3 May, 7
June and 12 July 2003. Archives: shelved? the
first of three events, examined the issues of
acquisition, intention and development of
archives and collections, particularly in
reference to artists’ books, objects and
ephemera. The speakers were Tim Brennan,
Clive Phillpot and Victoria Worsely.
The main function of ARCHIVE is to be
accessible to both conventional and
unconventional audiences and institutions by
way of educational and curatorial means. It is
self-contained and can be displayed with the
minimal of effort and resources.
4. Ibid.
5. Tim Brennan Curationism: The Nu-Curator as
Performer in Simon Morris Interpretation 2
Information as Material 2002, p.44. A copy of
this publication is housed within ARCHIVE.
It can be crated and transported to locations
far and wide. To date, ARCHIVE has been
accessed at the IKON Gallery, Birmingham as
part of its educational outreach programme
and the Dean Clough Galleries, Halifax as part
of the RALP workshops. It will be launched in
its entirety at the Henry Moore Institute
Library, Leeds in Autumn, 2003 before touring
to national and international venues.
By its very nature, ARCHIVE is at once intimate
and public.
Chris Taylor
School of Fine Art, History of Art & Cultural
Studies, University of Leeds
93
Knife Edge at the Eagle: Another Situation: No Style Bruce McLean and Mel Gooding, 1992
Knife Edge Texts Bruce McLean and Mel Gooding, 1992
understand about how a book holds language
to make us pause, contemplate and look anew.
Making Books
Emma Hill
Over the last ten years I have published books
which range from unique objects to limited
run, hand printed books to long-run
commercially printed editions. The only
defining feature of the imprint is that it brings
together words with images and in most
instances words which have been written
contemporaneously with the making of the
images. Early books tended to be made as a
record of temporary installations at the Eagle
Gallery and were simple letterpress, block print
or litho publications. The gallery is situated in
an area of London traditionally associated with
printing and in the early 90’s still had a
working community of small scale commercial
print workshops, which made printing the
books financially possible.
Moving house two years ago, I counted sixteen
boxes that contained my books. I have books
from four generations of my family. Books I
have re-read at intervals throughout my life and
other books I will probably never read but keep
because they have become in some way familiar.
As Calvino understands you can read a person's
life by looking at their books, they represent
the past and are held, with unknown potential,
for the future.
I make books because I think books are
important. When you take a book into your
hands you are taken on a journey that leaves
you somewhere different from where you
started. I make artists’ books because they can
contain more than one creative language in a
structure that holds time. I make books for the
same reason I imagine most people are drawn
to making them, because they are satisfying to
make.
In 1992 Bruce McLean and Mel Gooding’s
Knife Edge Texts brought together the writing
from their previous collaborations in a simple
board bound book printed entirely in letterpress by Tom Shaw. McLean liked the
utilitarian feel of the blank billboard covers and
incorporated a line of the books on the wall of
the installation Knife Edge at the Eagle: Another
Situation: No Style. Having a gallery it seemed to
make sense to show books in the same way as
we showed other art works and to present them
in a context where they were not an adjunct to
the other objects but attendant to them. It was
important to make them accessible and
readable. I can't see the point of making a book
with text if the viewer can't read it and however
precious a book is, the experience of it as an
object is lost if contained in a glass case.
As a publisher of books which bring together
the work of contemporary artists and writers
one enters interesting but problematic
territory. The experience of a book is generally
a private one, a subjective gathering of images
in the mind to visualise the words we read, fluid
and individual to each reader. A work which
attempts to ‘make visual’ words, to create visual
narrative, or to play conceptually upon the
'bookness' of itself, is by nature a hybrid thing
and risks overloading the space where what you
see or read becomes real in the mind's eye.
Good artists' books are never merely illustrative.
The best of them integrate formal qualities to
create “harmony among our various modes of
perception...” 1 - the intangible effect all good
art has to provoke a sense of recognition, even
in the first glance.
In 1995 I was approached by Terry Smith, who
was gaining recognition as an installation artist
and had recently made a number of
interventions in a group of Acme houses in the
east end of London which had been cleared to
make way for the M11 link road.
A book comes with a certain set of rules which
can be utilised or broken and I am less
interested in debating what an artist's book is
than in finding out what an artist's book can be.
I am encouraged by the view that “a book is a
space for imaginative action” 2 - a particular
kind of site where an artist can use what we
Smith’s work by then existed only as
documentation - sequences of mainly black and
white photographs which showed how he had
referenced the histories of these spaces in
simple, eloquent repetitions of architectural
details, cut directly into the walls.
95
“actual and the metaphorical” that runs
through all the work and Mel Gooding who
understood implicitly how his text must
function to complement and reveal in language
the sensation of the hidden site, which he did
most eloquently.
Smith was exploring ways of bringing his work
to a wider audience and though he had shown
extensively within a museum context in the UK
and abroad, had not yet found a satisfactory
way of translating this most private aspect of his
practice into work which could be shown or
disseminated.
Site Unseen was published in the context of an
installation at the Eagle Gallery and was the
inspiration behind a number of the books that
followed which were approached on a much
more complex level and developed as an
extension of the work we were showing in
exhibition. It was important as a publisher to
ask what kind of an audience these works were
for, since the arena for artists’ books in the UK
is a small one and the Gallery could only
operate in a limited way as a distributor. It
seemed to make more sense to stay at the ‘fine
art’ end of making artists’ books than to
attempt to produce longer runs where quality
of purpose and print would be limited by
budget and where to make any kind of
financial returns large numbers of the books
would have to be sold.
The work was intriguing and beautiful but how
it fitted within the framework of a commercial
gallery took a long time to resolve since its
resonance depended upon the specificity of its
location. A bookwork seemed a logical way of
containing the documentary aspect, but Smith
was anxious that the approach taken to making
the publication follow as closely as possible his
wider working methods. Thus the book Site
Unseen was conceived as a ‘page specific’ site
that would reveal a single project through a
narrative of visual images, working notes and
commentaries and a longer poetic text.
Funding from the Arts Council made the
project possible, but it also imposed parameters
that led to a different way of making the book
than in previous publications. We were
required to print in a run of 500 or above and
to explore ways of distributing the book wider
than the network of individuals, collections and
libraries that had previously bought the smaller
edition publications. Budget dictated that the
book would largely have to be printed using
commercial lithography and the most efficient
tool to bring all the different elements together
was the computer. Within the financial
restraints however there was a determination to
use material and design to mirror the working
process of the artist who had made a series of
sculptural drawings into the fabric of a derelict
house, exposing layers of its history down to
the lathe and plaster skeleton. Images were
chosen as much for their potential to convey
the atmosphere of the house as they were to
show the artist's interventions upon it while
pages of different materials were layered
together or cut through with perforations and
apertures to parallel the sense of revealed form
and pattern.
Two fundamental questions interested me and
were born out of the experience of making
previous books and in thinking about the
context in which we were showing them. The
first was whether we could make publications as
objects that would appeal to people even before
they had read the text or properly looked at
the images. Our immediate audience was the
mixture of private individuals, consultants and
curators that passed through the gallery and
though there was interest in the books there
was a hesitancy about them as collectible works
of art. The second and far more difficult issue
was how one could commission genuine
collaborations between an artist and writer
within a framework which would allow them
the time and flexibility to develop a work which
properly integrated the various languages
involved.
In 1999 I set up a subscription scheme to
publish five artists’ books that could be
developed over a period of years rather than
months. The scheme was designed to raise a
starting fund of £20,000 which would be
supplemented by grant funding, sponsorship
and sales of the published books.
We were fortunate in the two writers involved in
Site Unseen. James Putnam, who put the project
into the wider context of Smith’s practice and
highlighted the crucial interplay between the
96
Site Unseen Terry Smith, 1997
The first book published under the EMH Arts
Publishers Scheme: And a year ago, I
commemorated a missed encounter was
brought out in 2000 and was a collaboration
between the painter Jane Bustin and the
curator and critic Andrew Renton. Bustin had
been working on a series of paintings which
took their titles from references in the poems
of Paul Celan. As an abstract artist she had
been much drawn to Celan's ability to fracture
and remake language in his attempt to find a
means to express the unsayable and was
exploring ways in her own work whereby she
could convey a range of associations and
emotional responses through very minimal,
process led paintings. The deep seated link
between word and image in the work made it
obvious material for a book but the approach
to making it and how or whether to reference
the source material had to be considered
carefully.
The choice of artists went wider than those
represented by the Eagle Gallery and included
some who had made books before and others
for whom it was new territory. Writers were
approached in consultation with the artists and
a provisional list of collaborations went to
museums, research departments and collectors
with 10 subscribers copies of the books
available.
Andrew Renton accepted the invitation to write
a text and brought to the project a deep seated
knowledge and understanding of Celan's work.
He did not attempt to write in literal response
to the artist's paintings though he requested
to borrow individual works to have around him
over a period of approximately six months.
Renton's text when it was finished was
remarkable. He had managed to combine
reference with suggestion and had written a
piece that while ostensibly was about the act of
writing drew in threads of memory, sensation
and potential.
Spiritual Letters Andrew Bick and David Miller, 1997
Celan said that his poetry was written towards
the moment of "becoming Silent" and this
sense of constructing a work that would be as
much about absence as presence became the
dominant principle in deciding how to make
the book. Bustin had made two aquatints pools of colour, latticed with a trace of an
etched plate, that were to be printed on
unbound, folded pages. The resonance of
the images on the paper was overt, almost
sculptural, as the saturated ink bled into the
bite of the etched line. It became apparent that
in order to reinforce the sense of what was not
present we should run a blank plate on the
opposite page so that the spread became a
diptych, empty and full. The text had been
written with a series of commentaries and was
Mr Krusoe’s Garden: I take breakfast at an Evil Hour
Pete Nevin, letterpress printed at Uhiselu,
Tallin, Estonia, 2002
98
And a year ago I Jane Bustin and Andrew Renton, 2000
Blocks Basil Beattie and Mel Gooding, 1991
set to resemble the pages of the Talmud and
printed letterpress with the deepest impression
we could make. Thus closed the book showed
only blank, white paper with the merest trace of
words, like braille - the after evidence of the
book's contents.
notes
1. Paul Valéry on Mallarmé
2. Mel Gooding: Propositions ’Apropos the Artist’s
Book
Working collaboratively it is always the case that
what you intend to make is altered in the
process of making it. Our most recent
publication involved the work of Julia Farrer
and the American writer Judith Thurman.
Farrer is an immensely dexterous artist who
works across many media and has made books
consistently over the last twenty years.
Her ideas for this book were already developed
and ambitious, exploring a structure which
involved etched and cut out sections, so that
the book would stand, opened out like a
leperello, with different views of, and through
the pages. Initial discussions between the writer
and artist had centred around a work which
would explore language, the tower-like structure of the book a potential allusion to the
Tower of Babel and the idea of fragmented
language a possible starting point to the text.
During the initial period of collaboration a
close friend of both died and the book became
a dedication to Kate Griffin, widow of the poet
Jonathan Griffin. Thurman's writing moved
away from discussing language in any abstract
sense and became a poem about love, a more
intimate and lyrical text than was first
anticipated. How it counterpoints Farrer’s
architectonic plays of line and space is an
interesting and unexpected thing, for it brings
a humanistic tone to the work which might
otherwise have been absent. The poem reflects
a softness and music in the artist’s images and
together the elements of language, form and
image become, I think, a space for imaginative
action.
Emma Hill
Director, Eagle Gallery / EMH Arts, London
100
Correspondences a collaborative bookwork published by EMH Arts, 1999
LO Julia Farrer and Judith Thurman 2001
PUPA
PRESS
deal in literary and art libraries and archives of
the sixties and seventies. Enquiries are
welcome. Hours: by appointment only.
Artist’s Book Publishers
Book Works
19 Holywell Row
London
EC2A 4JB
Tel: 020 7247 2203
Fax: 020 7247 2540
www.bookworks.org.uk
mail@bookworks.org.uk
Commissioning and publishing organisation for
artists’ books and text-based projects. The most
active artists’ publisher in the UK with many
publications completed over the years. See the
website for details of past and current projects
and mail order.
Libra Press
Nils Burwitz
Calle Rosa 22
Valldemossa
Mallorca
E 07170
Spain
Tel: 0034 97161 2838
burwitz@arrakis.es
Free lance work for artists by artist, painter,
sculptor, printer and editor.
Alec Finlay / Morning Star
Alec Finlay, Artist in Residence
BALTIC The Centre for Contemporary Art,
South Shore Road, Gateshead,
NE8 3BA
Tel: 0191 478 1810 x 237
Fax: 0191 478 1922
www.balticmill.com
alecf@balticmill.com
Alec Finlay is an artist and publisher who has
been working as artist-in-residence at BALTIC:
The Centre for Contemporary Art since July
2001, producing a series of twelve books
co-published by BALTIC and Morning Star.
The first titles in the series include: Irish 2,
Football Moon, Cowboy Story and Verse Chain:
Sharing Haiku and Renga. Some of the
forthcoming publications will be based upon
the participative projects that Alec is running:
Bynames (Hermit Futon), Wind Blown Cloud,
and The Book of Questions: details of how to take
part in these projects are at www.balticmill.com.
Lydia Megert Editions
23 rue de Chéroy
75017 Paris
France
Tel: 0033 1 4522 1228
lydiamegert@gmx.net
Contact: Lydia Megert, Editor
Publisher of editions and artists’ books since
1973. Lydia Megert Editions also deals in
artists’ books.
MakingSpace Publishers
Jonathan Ward
Primrose Cottages
Barton Estate
Whippingham
Isle of Wight
PO32 6NS
Tel: 01983 884246
makingspace@btinternet.com
Artists’ books publishing, co-ordination, design,
printing and binding.
Granary Books, Inc.
307 Seventh Ave. Suite 1401
New York,
NY 10001
U SA
Tel: 0031 212-337-9979
Fax: 0031 212-337-9774
www.granarybooks.com
info@granarybooks.com
Granary Books is a publisher of artists’ books,
poetry and the documentation thereof. We also
Queriendo Press
Penelope Downes
140 Cotswold Road
Bristol
BS3 4NS
Tel: 0117 963 3010
penny@queriend.dialstart.net
I create books in collaboration with artists from
other disciplines and countries, we publish
under the name of Queriendo Press.
103
Red Fox Press
Cashel
Foxford
Co. Mayo
Ireland
Tel: 00353 94 57848
www.redfoxpress.com
info@redfoxpress.com
Contact: Francis van Maele
Printing and publishing of limited numbered
and signed editions and creating of artists’
books.
Bookshops and Galleries in the UK
Bookartbookshop
17 Pitfield Street
Hoxton
London
N1 6HB
Tel: 020 7608 1333
www.bookartbookshop.com
info@ bookartbookshop.com
contact: Tanya Peixoto
Open: 1 – 7 pm: Wednesday, Thursday, Friday
and By appointment. A huge selection of
contemporary artists’ books for sale and a lively
exhibition programme.
Redstone Press
7a St Lawrence Terrace
London
W10 5SU
www.redstonepress.co.uk
Publishers of (amongst others) books by David
Shrigley.
BALTIC (Bookshop)
The Centre for Contemporary Art
South Shore Road
Gateshead
NE8 3BA
Tel 0191 478 1810
Fax 0191 478 1922
www.balticmill.com
email: info@balticmill.com
The Old School Press
The Old School
The Green
Hinton Charterhouse
Bath
BA2 7TJ
Tel: 01225 723 822
www.theoldschoolpress.com
mao@theoldschoolpress.com
Contact: Martyn Ould
The Old School Press prints and publishes new
texts in limited editions with specially
commissioned illustrations. We use traditional
letterpress printing techniques, metal type, fine
papers, and hand-binding. One of our books
can start with a text, a paper, a typeface, or a
medium of illustration. Our aim is always to
find a combination of text, illustration, typeface, papers, and binding that makes a unified
whole. Our books are generally illustrated with
specially commissioned work from artists
working in a variety of media which to date
have included watercolour, wood engraving,
wood cuts, line drawing, pastels, digital
photography and pochoir. Monthly e-mail
newsletter available.
Camden Arts Centre (Bookshop)
Arkwright Road
London
NW3 6DG
www.camdenartscentre.org
e-mail info@camdenartscentre.org
Dean Clough Galleries (Bookshop)
Dean Clough
Halifax
HX3 5AX
Tel 01422 250250
A selection of artists’ books held, home of the
Artists’ Books Archive at Dean Clough.
EMH Arts / The Eagle Gallery
159 Farringdon Road
London
EC1R 3AL
Tel: 020 7833 2674
Fax: 020 7624 6597
email: emmahilleagle@aol.com
Contact: Emma Hill
Contemporary gallery dealing in and
publishing artists’ books by represented artists.
Open: Wednesday – Friday 11 am – 6 pm,
Saturday 11 am – 4 pm
104
litho to one-off hand printed books. Off-Centre
Gallery director Peter Ford’s own books stem
from his experimental approaches to art on
and with paper. There is also a small selection
of unusual books about artists’ books - from
Russia, Poland, Australia and elsewhere.
Off-Centre Gallery co-organised “The Book
Garden - artists’ books from Russia, Ukraine
and Lithuania” in 1995 (touring) and was the
Bristol venue for A Tale of Two Cities, the CFPR/
NY Centre for Book Arts exhibition in 2001.
Opening hours vary according to current
exhibitions, so please call ahead to view books
by appointment.
The Fruitmarket Gallery (Bookshop)
45 Market Street
Edinburgh
EH1 1DF,
Scotland
Tel: 0131 225 2383,
Fax: 0131 220 3130
www.fruitmarket.co.uk
Email: bookshop@fruitmarket.co.uk
Contact: Elizabeth McLean
Open: Monday - Saturday 11am - 6pm,
Sunday 12 noon - 5pm
The Fruitmarket Bookshop is an acclaimed
contemporary culture bookshop (with approx
3500 titles) and part of Edinburgh’s Fruitmarket
Gallery, widely known as Scotland’s leading
contemporary art gallery. The Gallery publishes
artists’ books and exhibition catalogues and
also offers a mail order and selected online
catalogue service.
The Permanent Bookshop
Permanent Gallery
20 Bedford Place
Brighton
BN1 2PT
Tel/fax: 01273 710771
www.permanentgallery.com
Email: info@permanentgallery.com
Managed by a small unit of ‘Borbonaise’
loyalists, the Permanent Bookshop (housed
within Permanent Gallery) peddles a fine range
of limited edition artist-made books, small-press
publications, magazines and occasional papers.
It carries both lean and densely-textured
printed matter; The “choicest paper-cuts” sure
to suit most occasions
Hardware
First Floor
162 Archway Road
London
N6 5BB
Tel: 020 8341 6415
Fax: 020 8348 0561
deirdrek99@yahoo.co.uk
Contact: Deirdre Kelly
By appointment, wide range of artists’ books.
Mail order service available.
Walther Koenig Books
Serpentine Gallery
Kensington Gardens
London
W2 3XA
Tel: 020 7706 4907
Fax: 020 7705 4911
Email: waltherkoenigbooks@hotmail.com
Contact: Franz Koenig
New and out of print artists’ books from pre1960. artists’ books stocked are from editions of
over 500 only. Contact the bookshop to request
a current sales bulletin.
Marcus Campbell Art Books
43 Holland Street
London
SE1 9JR
Tel 020 7261 0111
Fax 020 7261 0129
www.marcuscampbell.co.uk
info@marcuscampbell.co.uk
Off-Centre Gallery
13 Cotswold Road
Bristol
BS3 4NX
Tel/fax: 0117 987 2647
offcentre@lineone.net
Contact: Christine Higgott / Peter Ford
The gallery houses an international collection
of artists’ books including items from Eastern
Europe, USA and Canada. These range from
refined photogravure and small edition offset
William English at Roe and Moore Rare Books
29 Museum Street
London
WC1A 1LH
Tel: 020 7251 5637
Specialist selection of artists’ books including
publications by Bill Burns.
105
Contemporary Printmaking
British Artists’ Books
www.artmetropole.com
Hardware…
Hardware
First Floor
162 Archway Road
Highgate
London
N6 5BB UK
t: 020 8341 6415
f: 020 8348 0561
a wide range of artists’ books can be
viewed by appointment all year round
mail order available
artists’ books
multiples
audio works
video
publications
mail order always available
www.artistsbooks.com
Zwemmers Art Bookshop
Whitechapel Art Gallery
80-82 Whitechapel High Street
London
E1 7QX
Tel 020 7247 6924
www.whitechapel.org
Specialist bookshop and website dealing in
contemporary artists’ books. Visit the website
for full listings and more information on their
new stores opening in September 2003 at 18-20,
rue de Perle, 75003 Paris and Fondation
Maison Rouge, 10 bd de la Bastille, 75011 Paris.
Telephone and Fax numbers remain the same
for both.
International Bookshops and Galleries
Boekie Woekie
Berenstraat 16
1016 GH Amsterdam
The Netherlands
Phone/fax: 0031 20 639 0507
Email: boewoe@xs4all.nl
www.boekiewoekie.com
The bookstore and gallery are open Tuesday to
Friday from 12 - 6 pm, Saturdays from 12 - 5 pm
and the afternoon of the first Sunday of each
month. An artist-run bookstore for books by
artists in Amsterdam.
Art Metropole
788 King Street West
Toronto
M5V 1N6
Canada
Tel: 001 416.703.4400
Fax: 001 416.703.4404
www.artmetropole.com
info@artmetropole.com
artists’ books, multiples and video media store,
gallery, publisher and distributor. Their website
also has good archive links, lots of information
and a mail order service.
Califia Books
20 Hawthorne Street
San Francisco
CA 94105
USA
Tel/fax: 001 415 284 0314
www.califiabooks.com
Email: califia@califiabooks.com
Distributor of Fine Press and Letterpress
Editions and artists’ Books from over 300 small
and individually operated presses from across
the United States and abroad.
Barbara Wien
Galerie und Buchhandlung für Kunstbücher
Linienstrasse 158 im Hof
D 10115
Berlin
Germany
Tel: 0049 30 2838 5352
Fax: 0049 30 2838 5350
www.barbarawien.de
Email: info@barbarawien.de
artists’ book gallery, press and shop.
DIA Center for the Arts (Bookshop)
548 West 22nd Street
New York
NY 10011
USA
Tel: 001 212 293 5540
Fax: 001 212 989 9356
www.diabooks.org
Email: bookshop@diacenter.org
Bookstorming
24 rue de Penthièvre
75008 Paris
France
Tel: 0033 1 4225 15 58
Fax: 0033 1 4225 10 72
Email: info@bookstorming.com
www.bookstorming.com
contact Marc Sautereau (Director)
Tues - Sat 1pm - 7pm
Florence Loewy - Books by Artists
9/11 rue de Thorigny
Paris 75003
France
www.florenceloewy.com
Email: flo@florenceloewy.com
Bookstore and exhibitions of artists’ books and
books about artists’ books.
107
Paris
France
Tel: 0033 6 6301 2287
www.onestarpress.com
Email: info@onestarpress.com
artists’ books website with mail order.
Grahame Galleries + Editions
Centre for the Artist’s Book
1 Fernberg Road
Milton 4064
Brisbane. Australia
Tel: 0061 7 3369 3288
Fax: 0061 7 3369 3021
Email: editions@thehub.com.au
www. grahamegalleries.com.au
Contact: Noreen Grahame
Opening hours: Wed - Sat 11am - 5pm
A commercial gallery showing mostly works on
paper and artists’ books, and houses the Centre
for The Artist’s Book. Also organiser of the
‘artists’ books + multiples fair.’
PABA Gallery LLC
The Foundry Building
33 Whitney Avenue 2nd floor
New Haven
Connecticut
CT 06510
USA
Tel: 001 203 773.3665
www.pabagallery.com
mail@pabagallery.com
Open Tuesday - Saturday, call for hours
Contact: Brian Valzania
PABA, the PhotoArt BookArt Gallery was
founded in 1999 with the purpose of offering
contemporary photography and artists’ books
including fine and small press, multiples and
unique book works. Regular exhibitions of
international and national artists.
Johan Deumens
Dr N. G. Piersonstraat 1
NL 2104 VG
Heemstede
The Netherlands
Tel/Fax: 0031 23 5282 491
www.artistsbooks.com
Email: deumens@artistsbooks.com
Large selection of artists’ books and editions by
international artists with mail order via website.
Printed Matter Inc
535 West 22nd Street
New York
NY 10011
USA
Tel: 001 212 925 0325
Fax: 001 212 925 0464
www.printedmatter.org
Contact: Max Schumann (Manager)
Email: mschumann@printedmatter.org
New York’s book art book shop and distributor,
also organise a book arts fair and mail order
through website.
Joshua Heller Rare Books Inc.
P.O. Box 39114
Washington DC
20016
USA
Tel: 001 202 966 9411
Fax: 001 202 363 5658
Email: HellerBkDC@aol.com
Contact: Joshua Heller
Hours: By appointment only
Oak Knoll Books / Oak Knoll Press
310 Delaware Street
New Castle
DE 19720
USA
Tel: 001 302 328 7232
Fax: 001 302 328 7274
www.oakknoll.com
Email:oakknoll@oakknoll.com
Books about books, book history and the book
arts.
Walther König
Buchandlung
Ehrenstrasse 4
D 50672
Köln
Germany
Tel. 0049 221 2059 60
Fax 0049 221 2059 640
www.buechermarkt.net
Books on the arts, and artists’ books all
featured on the website, with mail order.
One Star Press
16 rue Trolley de Prévaux
75013
108
Artist’s Book Centres
Grahame Galleries + Editions
Centre for the Artist’s Book
1 Fernberg Road
Milton 4064
Brisbane. Australia
Tel: 0061 7 3369 3288
Fax: 0061 7 3369 3021
Email: editions@thehub.com.au
www. grahamegalleries.com.au
Contact: Noreen Grahame
The Centre for the artist book is a collection
of c.550 artists’ books and some 200 reference
books. The gallery also has exhibitions of
artists’ books and organises the Artists’ Books
and Multiples Fair.
Centre des Livres d’ Artistes / Pays - Paysage
17 Rue Jules Ferry
87500 Saint-Yrieix-la-Perche
France
Tel: 0033 555 757030
Fax: 0033 555 757031
www.irisnet.fr/pp
Centre for artists’ books with archive and
exhibition programme.
Centre for Artist’s Books
Visual Research Centre
Dundee Contemporary Arts
152 Nethergate
Dundee
DD1 4DY
Tel: 01382 348060
www.dca.org.uk
Email: j.a.cumberlidge@dundee.ac.uk
Contact: Jane Cumberlidge
Idaho Center for the Book
1910 University Drive
Boise
Idaho
83725
USA
Tel 001 208 426 1999
www.lili.org/icb
ttrusky@boisestate.edu
The Hemingway Western Studies Center at
Boise State University, in coordination with
the Idaho State Library, was designated by the
Library of Congress as the site for the “Idaho
Center for the Book” in 1994.
Center for Book Arts
28 West 27th Street
NY 10001
New York
USA
Tel: 001 212 481 0295
Fax: 001 212 481 9853
www.centerforbookarts.org
Founded in 1974, The Center for Book Arts is
dedicated to preserving the traditional crafts of
book-making, as well as exploring and
encouraging contemporary interpretations of
the book as an art object. Its work is channelled
through five programme areas: exhibitions
related to the arts of the book; lectures on
topics of interest to book artists and
craftspeople; a modest publication schedule;
services to artists, both established and
emerging and an extensive offering of classes.
Each year the Center offers three terms of
courses, workshops and seminars taught by
experienced book artists, and providing
hands-on training in all aspects of traditional
and contemporary bookmaking, including
bookbinding, letterpress printing, papermaking
and other associated arts.
The purpose of the ICB is to encourage and
promote an interest in reading, writing,
making, disseminating, and collecting books,
as well as preserving and publicising the
bibliophilic heritage of Idaho.
In addition to bookmaking workshops, displays
and demonstrations, the ICB sponsors, juries
and coordinates a biennial travelling artist’s
book exhibition (Booker’s Dozen) which
includes 14 bookworks by Idahoans. It also
publishes books, card games and videotapes as
well as a bi-annual newsletter, and Idaho by the
Book, the unique format (tetratetraflexagon)
literary heritage map.
Works by Idaho authors and bookmakers
Vardis Fisher, James Castle, Ernest Hemingway,
Glenn Balch and Evelyn Amos are available
from the ICB.
110
www.sfcb.org
info@sfcb.org
Contact: Steve Woodall (Artistic Director)
The San Francisco Center for the Book is a
non-profit organisation devoted to teaching the
many arts and crafts that go into making books
(mostly) by hand. The Center also has an
ongoing exhibition programme, archived on
the website.
The center also sponsors a travelling exhibition
about autistic, self-taught Idaho artist James
Castle and sells facsimile Castle books and a
special issue of The Journal of Artists’ Books
devoted to Castle.
As well, a facsimile of the first work published
by the first press in the Pacific Northwest
(and oldest surviving Western American press)
‘Idaho’s Lapwai Mission Press’ is also available
from the ICB, as is a video about the history of
that press. ‘Lapwai’ is the Nez Perce word for
‘place of the butterfly,’ a bit of etymology and
entomology, which informs our logo, designed
by Evelyn Phillips of Ketchum, Idaho.
Visual Studies Workshop
31 Prince Street
Rochester
NY 14607
USA
Tel: 001 585 442 8676
www.vsw.org
info@vsw.org
The Visual Studies Workshop is an
internationally recognised centre for media
studies: photography, visual books, film, video,
digital imaging. Located in two historic
buildings, comprising 44,000 feet of space in
Rochester’s museum and cultural district, VSW
serves visual artists and the general public with
diversified programming in education and
exhibitions. Its publications include Afterimage,
the journal of media arts and cultural criticism,
and artists’ books from VSW Press. Residencies,
access programmes, and internships make the
facilities available for the production of
artworks and for scholarly research in VSW’s
extensive archives and library which includes
an extensive artists’ book collection.
Educational programmes include an MFA
programme in Visual Studies in association with
SUNY College at Brockport, and evening and
weekend workshops throughout the school
year. More information at www.vsw.org or
info@vsw.org
Minnesota Center for Book Arts
1011 Washington Avenue South, Suite 100
Minneapolis
MN 55415
USA
Tel: 001 612 215 2520
Fax: 001 612 215 2545
www.mnbookarts.org
Email: mcba@mnbookarts.org
The Minnesota Center for Book Arts engages
diverse artists and learners in exploring the
vitality of book arts. Shop and Gallery opening
hours are listed on website.
Pyramid Atlantic
6001 66th Avenue
Riverdale
MD 20737
USA
Tel: 001 301 459 7154
Fax: 001 301 577 8779
www.pyramidatlantic.org
Email: pyratl@earthlink.net
Visual arts centre specialising in hand
papermaking, printmaking, and artists’ books.
Also organise an artist’s book fair, see their
website for more details.
San Francisco Center for the Book
300 De Haro Street
San Francisco 94103
USA
Tel: 001 415 565 0545
Fax: 001 415 565 0556
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• A touring exhibition and
resource available to
galleries, libraries and
educational institutions
• A unique collection of
contemporary artists’
books, catalogues and
documentation
• Fully indexed with artist,
imprint, production details
and commentary
For further information
regarding ARCHIVE, the
Contemporary Artist’s Book
Fair and other related events
email: book.fair@ntlworld.com
or visit
www.contemporaryartistsbooks.com
DE A N CLO U G H
ARCHIVE is curated by
Chris Taylor & John McDowall
ARCHIVE photo:Chris Taylor © 2003
ARCHIVE
www.lili.org/icb
Tel: 01382 348060
www.dca.org.uk
Email: j.a.cumberlidge@dundee.ac.uk
Contact: Jane Cumberlidge
Opening hours: Closed Mondays,
Tuesdays By arrangement, Wednesday - Friday
10.30 am - 5.30 pm, Saturday and Sunday
12.30 pm - 5.30 pm (during projects)
The Centre for Artists’ Books has established
an archive, which includes work by young
Scottish artists such as David Shrigley,
Jacquie Donnachie and Graham Fagen.
The CAB archive includes an almost complete
collection of books by Weproductions, a large
collection of Pavel Buchler’s publications and a
comprehensive collection of prints and books
by Ian Hamilton Finlay, bequeathed by the
National Art Collections Fund in 2001. If you
would like a tour of VRC ‘behind the scenes’,
including the publishing and product design
facilities, information about projects, the
Centre for Artists’ Books, or would like more
general information, please contact Jane
Cumberlidge.
Book Arts Collections / Archives UK and Eire
The Bristol Art Library
10 Maycliffe Park
Bristol
BS6 5JH
email headlibrarian@tantraweb.co.uk
The Bristol Art Library is a fully functioning
public library housed in a wooden cabinet the
size of a small suitcase. Annabel Other, the
artist, created the library in 1998 and is the
Head Librarian. The library’s volumes cover a
wide range of subjects, from palaeontology to
astronomy, with 170books (all 5 in x 4 in) made
by artists and practitioners from all areas of the
arts and sciences.
Membership of Bristol Art Library is free, and
once you have joined and received your manilla
reader’s ticket you may visit the library and
peruse its volumes anywhere in the world. The
library now has 4,500 members, a giftshop and
a friends’ organisation FOTBAL (Friends of
The Bristol Art Library). The Bristol Art
Library tours regularly and has appeared at
venues ranging from galleries and museums to
hairdressing salons and the seaside.
Chelsea College of Art & Design
Library
Chelsea College of Art & Design
Manresa Road
London
SW3 6LS
Tel: 020 7514 7773
Website: www.linst.ac.uk/library
Contact: Liz Lawes / Liz Ward
Approximate number of books held: 2,500
Public Access: Yes, by appointment
Opening Hours in term time: see website.
Vacation Opening Hours: Restricted, by
appointment only.
Reference Collection
Catalogue Details: www.linst.ac.uk/library for
the Chelsea OPAC (Online Public Access
Catalogue) artists’ books are identified by the
shelfmark ARTIST’S BOOK.
Artists’ books: the book as a work of art 1963-1995
by Dr Stephen Bury, (Scolar Press, 1995) also
documents much of the collection.
Summary of Collection: The collection was
started in the early 1970s to document work
produced by contemporary avant-garde artists;
it is strong on Fluxus, American conceptual
works, British artists and current and exChelsea staff and students.
British Library
96 Euston Road
London
NW1 2DB
Tel: 020 7412 7000
Email: reader-services-enquiries@bl.uk
Website: www.bl.uk
Contact name: Dr Stephen Bury
Approximate number of books held: 5000
Public Access: By Reader’s Ticket
Opening Hours: Monday 10 am – 8 pm,
Tuesday – Thursday 9.30 am – 8 pm,
Friday and Saturday 9.30 am – 5 pm
Reference Collection
Catalogue Details: see www.bl.uk
UK National Library, receiving legal deposit
copies.
Centre for Artists’ Books
Visual Research Centre
Dundee Contemporary Arts
152 Nethergate
Dundee
DD1 4DY
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Contact: Gaye Smith, Daniel Pounds, Jacky Holt
Approximate number of books held: 1300
Public Access: By Appointment
Reference Collection
Catalogue: To purchase a catalogue please
contact the Book Design Library on the third
floor of All Saints Library (0161 247 6107) or
email artdesign-lib-enq@mmu.ac.uk.
Opening hours Year round: Monday - Friday
10 am – 4 pm (excluding bank holidays)
The Artists’ Books Collection, currently about
1300 items, forms an important part of the
Book Design Collection and can be browsed in
a separate sequence. Twentieth Century artists’
books, (book or book-like objects in which an
artist has a creative input beyond authorship or
illustration) are important for disseminating
the ideas of artists and for demonstrating the
structure of a book used as an artistic medium.
Works range from the conceptual works and
multiples of artists such Dieter Roth, Ed Ruscha
and Sol Le Witt to the concrete poem cards of
Ian Hamilton Finlay or the experimental,
hand-printed livres d’artiste of Ken Campbell.
Glasgow School of Art
Library
Glasgow School of Art,
167 Renfrew Street
Glasgow
G3 6RQ
Tel: 0141 353 4551
Email: g.rawson@gsa.ac.uk
Website: gsa.ac.uk/library
Contact name: George Rawson
Approximate number of books held: 400
Public Access: Yes
Opening Hours in term time:
Monday - Friday 11-12 am
Vacation Opening Hours:
Access by appointment
Reference Collection
Catalogue Details:
On line catalogue gsa.ac.uk/library
Specialising in the works of Ian Hamilton
Finlay and Coracle Press
International Sound and Visual Poetry Archive
11 Dale Close
Thames Street
Oxford
OX1 1TU
Tel: 01865 727529
Email: paula.claire@talk21.com
Contact name: Paula Claire
Approximate number of books held: 4000
A private collection of Sound and Visual Poetry,
Artists’ Books, Book Works built from an
international exchange of works. Workshops,
exhibitions and lectures / performances
utilising this archive by appointment.
The scope of the collection is from the late
1960s to the present day with a strong bias
towards British artists. The library regularly
features exhibitions from this collection. A
catalogue Artists’ Books: a catalogue of the collection
by Gaye Smith, 1993 (£4) can be purchased
from the Book Design Enquiry Desk (see
Catalogue details for more info).
National Art Library: Book Art Collection
Victoria and Albert Museum
South Kensington
London
SW7 2RL
Tel: 020 7942 2400
Website: www.nal.vam.ac.uk
Email: nal.enquiries@vam.ac.uk
Contact: Andrew Russell, Special Collections.
Approx. no of books held: 5000
Public Access: Yes
Opening Hours: Tuesday – Saturday
10 am – 5 pm (not Bank Holiday weekends)
Reference Collection
Catalogue Details: http://ipac.nal.vam.ac.uk
A major reference library and the Victoria and
Albert Museum’s curatorial department for the
art, craft and design of the book.
London Institute Collections including London
College of Printing see www.bookhad.ac.uk the
search engine for any artist’s book in the
member collections or www.linst.ac.uk.
Manchester Metropolitan University Library
Book Design Collection / Artists’ Books Collection
All Saints
Manchester
M15 6BH
Tel: 0161 247 6107
www.mmu.ac.uk/services/library/
Email: artdesign-lib-enq@mmu.ac.uk
114
Email: gmaarchives@nationalgalleries.org
Approx. no of books held: 4500
Open to the public, by appointment
Opening Hours: Monday to Friday
10 am – 1 pm and 2 pm – 4.30 pm
Catalogue details:
OPAC available in the Reading Room
Reference collection, see the essay by Ann
Simpson in this issue for more information.
Norwich School of Art and Design Artists Books
Collection
Library, Norwich School of Art and Design
St Georges Street
Norwich
NR3 1BB
Tel: 01603 610561
Email: t.giles@nsad.ac.uk
Website : see above
Contact name: Timothy Giles
Approximate number of books held: 400 items
Public Access: No
Opening Hours in term time : 9.15 am – 5 pm
Vacation Opening Hours: contact library
Reference Collection
Catalogue Details: On line catalogue at
http://aleph.lib.uea.ac.uk
(see link for NSAD Library)
Small Studio resource of contemporary artists’
books (from 1990 to present). Lower price
range, with an emphasis on European and US
works. Adding approx 50 items per annum.
Tate Library
Tate Britain, Millbank
London
SW1P 4RG
Tel: 020 7887 8838
Fax: 020 7887 8902
Email: research.centre@tate.org.uk
Contact name: Hyman Kreitman, Research
Library Enquiry Desk.
Approximate number of books held: 4000
Public Access: By appointment
Opening Hours: Monday – Wednesday
11 am – 5pm
Reference / Closed access collection; it may be
necessary to make an initial appointment to
study the catalogue and make requests. All visits
are by appointment.
Royal College of Art Artist’s Book Collection
Royal College of Art Library
Kensington Gore
London
SW7 2EU
Tel: 020 7590 4219
Email: darlene.maxwell@rca.ac.uk
Website: www.rca.ac.uk
Contact name: Darlene Maxwell
Approximate number of books held: 300
Public Access: No
Opening Hours in term time:
Monday - Friday 2-30 pm - 4.30 pm
Vacation Opening Hours: By Appointment.
Reference Collection
Catalogue Details: Paper (some online)
Includes items from RCA students and well
known British and international artists.
University of Brighton Artists’ Books Collection
St Peter’s House Library
16-18 Richmond Place
Brighton
BN2 9NA
Tel: 01273 643220 or 643221
Email: AskSPH@brighton.ac.uk
Website: http://library.bton.ac.uk/
Contact name: Alison Minns / Monica Brewis
Approximate number of books held: 200
Public Access: By appointment
Opening Hours in term time:
Monday -Thursday 9 am – 8 pm
Friday 9 am –6 pm; Saturday 1 pm – 4 pm
Vacation Opening Hours:
Monday – Friday 9 am – 5 pm
Reference Collection
Catalogue Details: http://library.bton.ac.uk/
The University has also produced a holdings list
of a small selection of their artists books in:
A guide to the Special Collection at St Peter’s House.
Scottish National Gallery of Modern Art
Special Books Collection
Dean Gallery
Belford Road
Edinburgh
EH4 3DS
Tel: 0131 624 6252
Fax: 0131 623 7126
www.nationalgalleries.org
115
Approximate number of books held: 300
Public Access: Yes
Opening Hours: Monday – Friday 9 am – 5 pm
Reference Collection
A collection built upon from the 1970’s with
contemporary artists’ books added over the last
two years onwards. A monthly exhibition
programme of invited artists runs in the study
area, please see the website for details of
current and archived artists’ books events in
the library at:
www.uwe.ac.uk/amd/cfpr/exhibit.htm
University of Gloucestershire Artist’s Book Collection
Pittville Learning Centre
University of Gloucestershire, Pittville Campus
Albert Road
Cheltenham
Gloucestershire
GL52 3JG
Tel: 01242 532254
Website: http://www.glos.ac.uk
Email: dthompson@glos.ac.uk
Contact name: David Thompson
Approximate number of books held: 150
Public Access by appointment
Opening Hours in term time:
By appointment within Learning Centre Hours
Monday -Friday 9 am – 9 pm
Vacation Opening Hours:
Monday -Friday 9 am – 5 pm
Reference Collection
Catalogue Details: all holdings listed on WebCat
on-line catalogue http://webcat.glos.ac.uk
The Collection has been developed to support
Artist’s Books and Printmaking modules of the
Fine Art Course.
University of Westminster, Harrow Learning
Resources Centre
Watford Road
Harrow
Middlesex
HA1 3TP
Tel: 020 7911 5885
Email: bannards@wmin.ac.uk
Website: http://www.wmin.ac.uk/harlib
Contact name: Sally Bannard
Approximate number of books held: 70
Public Access: By appointment
Opening Hours in term time:
Monday -Thursday 8.30 am – 9 pm
Friday 9.30 am –7 pm, Sat/Sun 10 am –5 pm
Vacation Opening Hours:
Monday – Friday 9 am – 5 pm
Reference Collection
Catalogue Details:
http://owl.wmin.ac.uk/ALEPH
Modest collection, purchased inexpensively.
University of Plymouth, Exeter
Library, Earl Richards Road North
Exeter
EX2 6AS
Tel: 01392 475060
Fax: 01392 475053
Website: www.plymouth.ac.uk
Email: Vicki.Maguire@plymouth.ac.uk
Contact name: Vicki Maguire (Senior subject
librarian, Exeter)
Approximate number of books held: 420
Public Access: Yes
Opening Hours: see website for details
Reference Collection
Catalogue Details: telnet:lib.plym.ac.uk
Wexford Artist’s Book Collection
Wexford Arts Centre
Cornmarket
Wexford
Ireland
Tel: 00353 53 23764
Fax: 00353 53 24544
www.wexfordartscentre.ie
wexfordartscentre@eircom.net
Contact: Andi Mc Garry and Denis Collins
A growing collection, built upon annually with
purchases form the Wexford Artists’ Book
exhibition. The collection has been assembled
as a resource to promote artist’s books in
education and to be used for special artists’
books exhibitions.
University of the West of England, Bristol
Library
UWE Faculty of Art, Media and Design
Kennel Lodge Road
Bristol
BS3 2JT
Tel: 0117 32 84757
Website: www.uwe.ac.uk/library
Email: Sarah.Clifford@uwe.ac.uk
Contact name: Sarah Clifford
116
collection is presented here for the pleasure
and profit of book collectors and researchers.
Artistbookarchive.com started collecting books
in 1999. The books in the collection may be
lent to individuals or institutions for
exhibitions. Contact them for information.
www.artistbookarchive.com
Wimbledon School of Art Library
Merton Hall Road
London
SW19 3QA
Tel: 020 8408 5027
Email: hdavies@wimbledon.ac.uk
www.wimbledon.ac.uk/school/resources.html
Contact name: Helen Davies
Approximate number of books held: 100
Public Access: Yes for reference only, by
permission of the Head of Learning Resources
Opening Hours in term time:
Monday – Thursday 10 am - 8.30 pm
Friday 10 am - 7.30 pm
Vacation Opening Hours: usually 10 am - 5 pm,
(with 2 weeks closed in August, but hours can
vary)
Reference Collection
Catalogue Details:
www.wimbledon.ac.uk/school/resources.html
Booklyn Artists Books Study Collection/Archive
37 Greenpoint Avenue
4th Floor
Brooklyn
NY 11222
New York
USA
Tel: 001 718-383-9621
www.booklyn.org
Email: mweber@booklyn.org
Contact: Marshall Weber
Approx. number of books held: 700
Public Access: Yes
Opening hours: Archive and library research
are by arrangement between Monday – Friday
10 am – 5 pm
Reference collection, but some lending for
institutional research or exhibitions.
On-line catalogue in production, complete by
2005, paper catalogue available on request by
2005. Booklyn has a wide spectrum of
contemporary book arts by living artists
including, fine collage books, collaborative
projects, fine letter press, independent press,
multi-media books, photographic books,
unique books, and ’zines.
Winchester School of Art Library
Park Avenue
Winchester
SO23 8DL
Tel: 02380 596986
Website: www.library.soton.ac.uk
Email: wsaenqs@soton.ac.uk
Contact name: Catherine Polley
Approximate number of books held: 605
Public Access: Yes
Opening Hours in term time:
Monday – Friday 9 am – 7 pm
Saturday 10 am – 4 pm
Vacation opening hours:
Monday – Friday 9 am – 5 pm
Reference Collection
Catalogue: online at www-lib.soton.ac.uk
The Winchester School of Art Library is a
specialist art and design library within the
University of Southampton. Specialisms within
the collection include, the complete Liver and
Lights series by John Bently.
Franklin Furnace / MOMA Artist’s Book Collection
Franklin Furnace Artist’s Book Collection at
Museum of Modern Art
11 West 53rd Street
NY 10019
New York
USA
The Franklin Furnace Artists’ Books Archive
was acquired by MOMA in 1993 and forms part
of the Museum of Modern Art’s Artist’s Book
Collection. Franklin Furnace has an
informative website with links to the MOMA
“Dadabase” of Artists’ Books in their collection.
The website also includes a catalogue of
Franklin Furnace publications since 1977.
Franklin Furnace Archives include (amongst
International Archives and Collections
Artistbookarchive.com
The collective result of a number of individual
collectors who wish to remain anonymous. The
117
Email: aboehme@artic.edu
Contact name: Doro Boehme
Approximate number of books held: 4000
Public Access: Yes
Opening Hours in term time:
8:30 am to 7:30 pm
Vacation Opening Hours: 10 am to 4 am
Reference or Lending Collection: Reference
Catalogue Details:
Catalogue only available in the book room.
In addition to a wide variety of artists’ books we
also collect multiples, artists’ ’zines, mail and
stamp art and any ephemera surrounding the
production of artists’ books. Various dealers’
archives of professional papers and
correspondence as well as an extensive
collection of artists’ and publishers’ files,
exhibition catalogues that are addressing this
field and a growing number of examples of
web/net art complement these holdings.
Public access is as unencumbered as possible.
many others) works by Jenny Holzer, Yoko Ono,
Laurie Anderson, Ed Ruscha, Lawrence Weiner,
Barbara Kruger and Lucy Lippard. The website
has extensive information and historical texts
www.franklinfurnace.org, follow the links to
access the MOMA “Dadabase.”
MOMA is undergoing refurbishment until 2005
and is temporarily located at:
33 Street at Queens Blvd.
Long Island City, Queens
Tel: 001 212 7089400
www.moma.org
info@moma.org
Franklin Furnace continues to; document the
‘avant-garde,’ show virtual and digital works on
their website and promote performance art.
Franklin Furnace Archive Inc
45 John Street ≠ 611
NY 10038
New York
USA
www.franklinfurnace.org
mail@franklinfurnace.org
Meermanno-Westreenianum - Museum van het Boek
Prinsessegracht 30
1514 AP Den Haag
The Netherlands
Tel: 0031 70 3462700
Website: www.meermanno.nl
Email: bibliotheek@meermanno.nl
Contact name: Drs. Rickey Tax
Number of books (approx):
artists’ books: 1,000
modern fine print collection: 30,000
Public access: Yes
Opening hours (library):
Tuesday - Thursday 1 pm – 4.45 pm
Friday 9 am -12:30 pm and 1 pm – 4.45 pm
The museum, opened to the public in 1852,
has since developed into the national museum
of the history and the art of the book.
It consists of twosections, the collection Van
Westreenen and the collection of the Museum
van het Boek (established in 1960). A research
library provides secondary literature reflecting
these interests, including books on the history
of the book and the book-trade, private presses,
book production, history of script and
calligraphy, early typography, graphic design,
paper, book design and bindings.
Special collections include; Van Westreenen
Collection: 340 (illuminated) manuscripts,
1,500 incunabula, and early imprints, often in
Grahame Galleries: Centre for the Artist’s Book
1 Fernberg Road
Milton 4064
Brisbane. Australia
Tel: 0061 7 3369 3288
Fax: 0061 7 3369 3021
Email: editions@thehub.com.au
www.grahamegalleries.com.au
Contact: Noreen Grahame
Approximate number of books held: 550
Opening hours:
Wednesday – Saturday 11 am – 5 pm
The Centre for the Artist’s Book is a collection
of c. 550 artists’ books and some 200 reference
books.
Joan Flasch Artists’ Book Collection
John M Flaxman Library
School of the Art Institute of Chicago
37 South Wabash
Chicago
Il 60603
USA
Tel: 001 312 899 5098
Website: www.artic.edu/saic/art/flasch/
118
costly bindings; Jhr dr R.M. Radermacher
Schorer Collection (bibliophile editions)
Editions printed by and literature on private
presses, Artists’ books and Ex-libris.
library@vsw.org
An extensive collection and archive of artists’
books and related disciplines from the early
1970’s onwards. See the essay overleaf for more
information on the collection.
Reinhard Gruener: Artist’s Book Collection
Postfach 1302
D 82243
Fuerstenfeldbruck
Germany
Tel: 0049 89 15912 102
Email: r.gruener@buchkunst.info
A private collection of Modern Avant-Garde
artists’ books with the main focus on East German and Russian Artists. Exhibitions can be
curated, and contacts with Museums and artists
are welcome. Contact Reinhard Gruener for
more information.
Yale Center for British Art: Department of Rare
Books and Manuscripts
1080 Chapel Street
P.O. Box 208280
New Haven
Connecticut CT 06520
USA
Tel 001 203 432 2814
Fax: 001 203 432 9613
Website: www.yale.edu/ycba
Email: Elisabeth.fairman@yale.edu
Contact name: Elisabeth Fairman, Curator of
Rare Books and Manuscripts
Approx. number of books held:
1000 (plus archival material)
Public Access: Yes
Opening Hours:
Tuesday – Friday 10 am – 4.30 pm
Reference Collection
Catalogue Details: Paper catalogue and online
at orbis.library.yale.edu
The Yale Center for British Art, both a public
museum and research institute, houses the
most comprehensive collection of British
paintings, sculpture, drawings, prints and rare
books outside Great Britain. Given to Yale by
the late Paul Mellon, the collection contains
masterpieces by the leading artists who worked
in Britain from the sixteenth century to the
present. The Center’s Department of Rare
Books and Manuscripts houses c. 30,000
volumes, including a growing collection of
contemporary British Artists’ Books.
Scuola Internazionale di Grafica
Cannaregio s. Marcuola
Calle Seconda del Cristo
1798 Venice
Italy
Tel: 0039 41 721 950
www.scuolagrafica.it
Email: info@scuolagrafica.it
Contact Names: Lorenzo de Castro (Director)
Carrie Galbraith (Fellow)
Approx. number of books held: 200
Public Access: By Appointment
Opening Hours Term Time only:
Monday – Friday 9 am – 1 pm and 2 pm – 6 pm
Reference Collection
Catalogue Details:
Paper catalogue to be published in 2004.
International school, nearly all of the books in
the collection were created at the Scuola
Internazionale di Grafica by students, residents
and visiting artists. The collection will be
travelling to the USA in 2004 for several
exhibitions.
Visual Studies Workshop Research Archive
31 Prince Street
Rochester
NY 14607
USA
Tel: 001 585 442 8676
www.vsw.org
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The Visual Studies Workshop in Prince Street, Rochester, New York
VSW Library and Research Center
artwork increased, with the press regularly
producing books for student’s group exhibitions and, an important step in 1972 saw the
first book produced by the press with outside
artists Videofreex (Cooperstown TV is a Museum
Videofreex, Mediabus Inc. in an edition of 1,000
copies). The press element of VSW was
beginning to grow and the next few years saw
the onset of many collaborative projects with
visiting artists, establishing the press as an
important publisher of artists’ books. In 1973,
with the press in full swing, a foundation grant
helped with the purchase of a new offset press,
copy camera, darkroom equipment and a plate
maker to expand the facility.
Visual Studies Workshop Press and Archive, USA
Sarah Bodman
The Visual Studies Workshop Press is part of
the Visual Studies Workshop, based in
Rochester, New York State, USA. The press has
a long history of artist’s book production by
students, residents and visiting artists and has
built up a huge collection resource for the
preservation and study of artists’ books. The
press is part of the wider sphere of VSW, which
investigates both the practice, and historical
study of computer media, artists’ books, film
and photography. VSW also runs an
educational programme through State
University New York, summer schools,
workshops, internships and film and exhibition
programmes in the galleries. Afterimage, the
bimonthly journal of media arts and cultural
criticism, edited by Bruno Chalfour, is also
based and published at VSW.
In the same year, Keith Smith, John Wood,
Sonia Sheridan and A. D. Coleman were invited
to the press for two weeks and produced 10
artists’ books between them including; Sonia
Sheridan and Keith Smith Unfolding Vol. 1 and
Unfolding Vol. 2, Sonia Sheridan Time Plane,
A. D. Coleman Carbon Copy 6/25-6/29 and John
Wood’s A Ten Page Note. More artists’ books
followed in 1974 and the production of three
handbooks, much-valued reprints of early
photographic process books: Ernst Lietze’s
Modern Heliographic Processes, Herbert
Dennison’s A Treatise on Photogravure and
A. T. Story’s The Story of Photography.
The Visual Studies Workshop was originally
instigated by Nathan Lyons in 1969 and began
the first part of its long history in a loft space
on Elton St in Rochester, as an artist’s space
and MFA programme with 30 students. The
main focus of the workshop was (and still is)
film, photography, artists’ books and print.
By the end of 1974 the VSW Press was busily
producing artists’ titles, a research series and
editions of students work. VSW Press also
printed many editions of poetry for small
publishers which provided a means of income
for the press; prospective writers, poets and
publishers would bring their texts, with Joan
Lyons providing a free design and layout
service and the press then charging only for the
printing. This not only brought in funds for the
workshop but also helped small press
publishers to produce editions they might not
otherwise have been able to afford. With the
exception of a small amount of grant support,
the press became more or less self-supporting
and in 1976, a Heidelberg press was purchased
with a grant from the visual arts programme of
NYSCA, and was subsequently used to print
over 400 books.
Joan Lyons developed the press element of
VSW, with the first piece of machinery being an
old proof press and cases of metal type
obtained from a newspaper printer in the area.
With her experience of printmaking, graphic
design and book making from her earlier years
spent working as a graphic designer in New
York city, Joan Lyons has had plenty of
opportunities to use all of this expertise in her
on-going role as the press director. She is also
well known for editing and publishing the
informative Artists’ Books: A Critical Anthology
and Sourcebook, which has been updated and
reprinted three times since its original
publication.
Many of the early workshop students were
interested in printmaking techniques and the
book arts and by 1971 several students had
made letterpress books, which led to VSW
acquiring an offset press in 1972. Over the next
year the printing of books, prints, posters and
In the late 1970’s VSW as a whole moved to
their present location; a large stone mansion
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Zimmerman (Civil Defense, 1984) Erica van
Horn (Black Dog White Bark, 1986) Ulises
Carrión (For Fans and Scholars Alike, 1987)
Helen Douglas and Telfer Stokes (Real Fiction
1987) Buzz Spector (The Position of the Author,
1992) Babette Katz (My Flag, 1995) Scott
McCarney (Far Horizons, 1997) and Judy Gelles
(Florida Family Portrait, 2002).
and gallery / workshops in Prince Street,
Rochester. The huge presses moved with them
but, with the development of newer printing
technology over the last thirty years, the letterpress eventually gave way to processes such as
DocuText, and more recently, digital output.
With the changes in pre-press work and output,
most artists’ books published by VSW now use
mainly computers and inkjet printers, with
large scale or offset litho editions being printed
off the premises. As with nearly all print and
book arts workshops, the old letterpress has
made way for a new set up of computers and
printers. There are still some traditional aspects
of book making and binding available within
the studios, although the press is now veering
more towards small editions and pre-press
production for their artist’s book publishing
programme. After 34 years the press still
pursues an active publishing output, which is
documented on their website and VSW
continues to run a successful artists-in-residence
book arts programme which has been ongoing
since the early 1970’s. The book arts residency
production programme involves publishing of
books in editions of up to 200 on site, with
facilities for hand binding available.
I was fortunate enough to experience the
Research Centre archives at first hand in
Nov/Dec 2002 when I was given a sponsored
residency at VSW to print one of my own
artists’ books. On completion of my book in the
studios I was determined to spend as much
time in the Research Centre archives as
possible as it was such a treat to be able to
handle so many examples of artists’ books. The
books are cross-catalogued by publisher, title
and artist, so they were easy to locate within the
labyrinth of archival boxes on the shelves.
As part of their artist’s book publishing history,
VSW press established their Research Centre
and collection as their own press grew;
including a Research Library of 20,000 books
concentrating on the areas of photography,
filmmaking, video, bookmaking, media studies,
and the cultural practices of image making.
The Research Centre’s Independent Press Archive
has a vast collection of over 5,000 artists’ books
from the 1970’s onwards with a substantial part
of the artists’ books collection amassed from
books either made at VSW as part of the
Workshop’s residency and publishing
programme (since 1970), or through the VSW
sponsored publishing of books by local and
visiting artists. Through these programmes,
pre-press and publishing sponsorships VSW
have helped to publish and collect a diverse
range of books by artists including:
Douglas Holleley (Far Fetched, 1976) Paul
Zelevansky (The Case For The Burial of Ancestors,
Book I, 1980) Mimi Smith (This Is A Test, 1982)
Douglas Heubler (Crocodile Tears, 1984) Philip
The archival boxes full of artists’ books at VSW
The VSW collection also includes countless
artists’ books by individuals such as Barbara
Kruger, Richard Olsen, Sol Lewitt and a large
collection of the work of Ed Ruscha from the
late 1960’s and early 70’s. Although the collection is well catalogued, I did find some work by
happy accident when looking for the work of
another artist in the box files, for example Jim
122
Pomeroy’s Stereo Views / Ver Multidimensionales
made in 1988, a boxed, manipulated View
Master, with a set of 21 3-D images and an
offset printed book published at Syracuse.
Philip Zimmerman’s Space Heater Multiples in
Rochester, including books by Willyum Rowe
(Sure as Death) Philip Zimmerman / Tim Ahern
(The Rusty Plate) and Keith Smith.
Stereo Views / Ver Multidimensionales Jim Pomeroy, 1988
In Case of Emergency Scott McCarney
The archive contains many artists’ books by
Keith Smith who is based in Rochester,
including some of his earlier works Overcast
(Book 112) 1986; Lexington Nocturne April 19
(with Jonathan Williams) 1983 and Swimmer
(Book 114) 1986 as well as his bookbinding and
book art publications (which are all listed at
www.keithsmithbooks.com).
The time I spent at the Research Centre
allowed for a pleasurable delve into a large and
valuable collection; with such a vast amount of
books, it would take a long time to fully explore
the whole archive. The luxury of looking at and
having time to study so many examples of work
for my own curiosity was an added bonus to
being at VSW. The archives and study centre
including: media arts, photography,
independent film and video, electronic
imaging, visual books and the publications arts
are open to the public by appointment. For
more information see the website link or email
library@vsw.org. Artists’ books still form a
significant part of the Visual Studies Workshop;
as well as the collection and study centre, the
ongoing artists’ books publishing and residency
programme there is The Collector’s Gallery
and Bookstore which sells artists’ books and
reference books produced at the Press.
Artists’ Books by Keith Smith, clockwise from top left:
Overcast (Book 112) 1986, Lexington Nocturne April 19 (with
Jonathan Williams) 1983 and Swimmer (Book 114) 1986
Also well represented in the collection are
many of the recognisable artist’s book
publishers in the USA (see page 62); Nexus
(with works by Steven L. Steinman, Clifton
Meador and Scott McCarney), the Museum of
Modern Art New York (including works by
Telfer Stokes, Ted Greenwald / Richard
Bosman, A. R. Penck and Jörg Immendorff)
and Hallwalls Press (Jenny Holzer and Peter
Nadin’s Eating Friends and Laurie Anderson’s
Words in Reverse). Printed Matter Publications
represented in the collection include works by
Nancy Holt (Ransacked), Douglas Huebler and
Kathy Acker (The Adult Life of Toulouse Lautrec)
and there is also a good selection of works from
The MFA education programme runs in the
VSW studios giving students and residents the
opportunity to interact (during my time there
I really enjoyed meeting the students who were
busy making some very nice editions for a book
arts project in the studios).
Residencies usually last up to four weeks and
artists are given free access to the studios on a
24-hour basis. Full details of the programme
and how to apply can be found on their website
alongside information on exhibitions, and
current and archived VSW Press publications at
www.vsw.org, or email artists@vsw.org.
123
Words in Reverse Laurie Anderson,
Hallwalls Press, 1979
Artists’ Books by Ed Ruscha, clockwise from middle left:
Nine Swimming Pools and a Broken Glass, 1968 (closed and open),
Various Small Fires and Milk, 1970, Twentysix Gasoline Stations, 1969,
Some Los Angeles Apartments 1965, Every Building on the Sunset Strip, 1966
and Thirtyfour Parking Lots in Los Angeles, 1967
Two examples of artists’ books produced at VSW Press:
Perspectives III Joan Lyons, 1976 (open and closed)
Crocodile Tears Douglas Huebler, printed at VSW in an editon of
2,500 in 1985 (open and closed)
Fragments for a Body of Knowledge Shelley Hoyt, Susan King,
Joan Lyons and Sue Ann Robinson, VSW Press, 1992
Examples of Museum of Modern Art (New York) publications in the artists’ books archive at VSW,
from top left: Young Masters and Misses Telfer Stokes, MOMA, 1984, Exit the Face Richard Bosman and
Ted Greenwald, MOMA, 1982, Brandenberg Gate Jörg Immendorff and A. R. Penck, MOMA, 1982,
Conversations with Nature Bryan Hunt, MOMA, 1982 and Book of Nine Gary Stephan, MOMA, 1983
use, and to encourage a greater awareness of
the subject. The website includes information
and links on Letterpress societies, printers,
courses and workshops, museums, exhibitions,
book fairs, sources of help and information and
discussion and website links. Please visit the
website at www.letterpressalive.co.uk.
Any suggestions for inclusion on the website
should be emailed to David Bolton at
AlembicPrs@aol.com.
Book Arts Organisations
Booklyn (USA)
37 Greenpoint Avenue, 4th Floor
Brooklyn, NY 11222, New York, USA
Tel: 001 718 383 9621
Email: mweber@booklyn.org
Web: www.booklyn.org
Contact: Marshall Weber
Booklyn is a super-cool, non-profit artist-run
organisation that distributes, publishes, and
produces exhibitions and runs educational
programmes involving contemporary artists’
books. Booklyn includes a bookshop dealing in
artists’ books, courses in book arts, a gallery
centre and typeset/design studio services.
The Book Art Project
Paul Johnson Director
11 Hill Top Avenue
Cheadel Hulme
Cheshire
SK8 7HN
Tel: 0161 485 2174
pauljohnson@bookart.co.uk
The encouragement of writing and illustration
in the book form by children and promoting
books and the book arts in school education.
Based originally at Manchester Metropolitan
University, but now operated in the private
sector. For details of courses and publications,
please contact as above.
Fine Press Book Association
Membership Enquiries
Janet Jackson
Glenswinton
Parton
Castle Douglas
DG7 3NL
www.fpba.com
jj@forge.demon.co.uk (for membership
enquiries)
An association dedicated to the appreciation of
finely printed books and their production.
Open to collectors, printers, artists etc.
Also organise FPBA book fairs.
The Society of Bookbinders
(President: James Brockman)
The Society of Bookbinders is dedicated to
traditional bookbinding and to the
preservation and conservation of the printed
and written word. There are eight regions, each
with its own committee, comprising a Chairman
Treasurer, Secretary and Committee Members.
The Society of Bookbinders is committed to the
provision and furtherance of education in the
field of bookbinding. Our stated aim is to,
‘advance education for the public benefit in all
aspects of bookbinding, in particular, but not
exclusively by, the collection, collation,
evaluation and organised dissemination of craft
and technical information.’
Geelong Arts Alliance (Australia)
PO Box 1229
Geelong
VIC 3220
Australia
Tel: 0061 3 5222 8300
Email: gaa@swift.net.au
Contact: Susan Hartigan and Glen Smith
Not for profit cross artform membership
organisation in regional Victoria, promoting
collaborative actions, events and ideas and
community cultural development.
The Society’s eight Regions each organise
meetings at which lectures and/or Masterclass
demonstrations are given. Visits to libraries,
binderies and suppliers are also arranged.
Letterpress Alive
A website set up by the Alembic Press to collect
any information about letterpress activities in
the UK. This is to ensure the continuation of its
At the National level, a Conference, hosted by
one of the Regions, is held every other year.
125
In non-Conference years, a National AGM is
held - usually at a venue housing a book /
binding - related attraction. We also have an
Education & Training weekend on nonConference years. This is a new initiative that
concentrates on specific subjects and processes
within bookbinding.
Wexford Artist’s Book Exhibition
A popular annual event including works for
sale at Wexford Arts Centre, Ireland. Contact
Andi Mc Garry or Denis Collins for further
details.
Wexford Arts Centre
Cornmarket, Wexford
Ireland
Tel: 00353 53 23764
Fax: 00353 53 24544
www.wexfordartscentre.ie
wexfordartscentre@eircom.net
Regions:
Birmingham • East Anglia • London & South •
Midlands • North East • North Wales & North
West • Scotland • West • Overseas.
For further information, membership details
and related links and events, please visit the
website: www.societyofbookbinders.com
For National membership details contact:
Mrs Phillipa Harvey (Secretary)
Plaster Hill House
Churt
Surrey
GU10 2QT
or email info@societyofbookbinders.com
The Society of Bookbinders: Western Region
Secretary: Bindy Wollen
St Annes
Higher Woodfield Road
Torquay
TQ1 2LE
Tel: 01802 293047
www.societyofbookbinders.com
Email: bindy@wollen.demon.co.uk or
info@societyofbookbinders.com
The Society welcomes new members whether
they are professional, amateur bookbinders or
just enjoy books and their bindings.
Membership offers regional programmes of
lectures, workshops and visits. There is a
biennial Conference and Competition and an
annual publication Bookbinder. Newsletters
keep members informed of events throughout
the year and give names and addresses of
suppliers of materials and new and secondhand equipment.
126
www.bookarts.com a book arts directory of
makers, museums and suppliers in the USA.
Book Arts Websites
www.andreweason.com artists’ books by Andrew
Eason with useful links to other book arts sites.
www.bookhad.ac.uk search engine for book arts
study and research in selected institutions and
collections, with useful links.
www.artistbookarchive.com an archive website
of donated artists’ books.
www.booklyn.org Booklyn Artists Alliance,
features their published artists’ books,
courses and workshop programmes.
www.artistsbooks.com Johan Deumen’s site for
sales of artists’ books with useful links and
reference books.
www.bookstorming.com Paris based artists’
books for sale by many international artists.
www.artgoes.com the official Artgoes website of
their multiples, books etc.
www.bookworks.org.uk Book Works website,
lots of information on current and past artists’
publications, forthcoming projects with mail
order available.
www.artic.edu/saic/art/flasch/exhibitcatalog.html
the Consistency of Shadows book arts catalogue
exhibition, full of information. Also the Joan
Flasch Artist’s Book Collection.
www.buechermarkt.net Walther König book
dealer and artist’s book publisher.
www.artmetropole.com in Toronto has a very
good online selection of multiples, book works,
artists’ books and reference material with links
to other sites and archives.
www.califiabooks.com San Francisco based
artists’ books and Fine Press editions.
www.aspectable.com artists’ books by Niamh
Jackman, Conor Lucey and Mermaid
Turbulence.
www.cca-kitakyushu.org Japanese international
gallery / book art research publishing.
www.centerforbookarts.org New York Center
for Book Arts, exhibitions and courses.
www.backspace.org/hayvend/list.html Hayvend
multiples and artists’ details.
www.colophon.com Fine Press books, plus links
to a number of related websites.
www.balticmill.com see their Projects section
for Alec Finlay’s book art projects.
www.barbarawien.de German book arts
bookshop and gallery.
www.colophon.com/umbrella/index.html
online selections from the Umbrella book arts
journal.
www.boekiewoekie.com online catalogue of
artists’ books from Boekie Woekie, Amsterdam.
www.dca.org follow the links for the Centre for
Artists’ Books, Dundee.
www.bookart.co.uk The Book Art Project
website promoting the book arts in schools.
www.diabooks.org DIA Center’s New York
bookstore including artists’ books.
www.bookartbookshop.com The London based
Bookartbookshop website, with opening hours
exhibitions info and current information.
www.digital.library.upenn.edu/books/
online books.
www.florenceloewy.com artists’ books archive
and bookstore.
www.bookarts.ua.edu for useful bookarts web
resource links.
www.fpba.com Fine Press Book Association
membership details and information, plus some
useful links.
www.bookartscentral.com website of book arts
techniques and handbooks.
128
www.sfcb.org the San Francisco Center for the
Book, book arts information and exhibitions.
www.fruitmarket.co.uk/artistsbooks.html
details of current publications from the
Edinburgh gallery.
www.smabs.co.uk Stuart Mugridge’s artists’
books and useful links.
www.grahamegalleries.com.au Centre for The
Artist’s Book, Brisbane, Australia with details of
exhibitions and their artist’s book fairs.
www.slis.ua.edu/ba/bookweb.html
MFA in Book Arts at the University of Alabama,
with bookweb links.
www.granarybooks.com/catalog.html full
catalogue of their publications.
www.societyofbookbinders.com for society
information, events, membership and links.
www.hamish-fulton.com details of the artist’s
work, including books.
www.theBenedict.net artists’ books and site
specific works by Benedict Phillips.
www.indeprintent.com/index.htm artists’ books
by Ral Veroni.
www.thecooker.com Jake Tilson and Atlas.
www.kuenstlerbuecher.de/messen.htm list of
international book fairs and artist’s book fairs.
http://theorangepress.com/ has a very good
information section of museums and book arts
stores and suppliers for New York and Paris.
www.library.yale.edu Yale University library’s
collection of artists’ books.
www.lili.org/icb Idaho Center for the Book.
www.thingsnotworthkeeping.com details of
TNWK’s projects and bookworks.
www.mpawson.demon.co.uk Mark Pawson’s
website of multiples, disinfotainment, artists’
books and lots more.
www.uwe.ac.uk/amd/cfpr/exhibit.htm
UWE, Bristol website with artists’ books events
and exhibitions archive.
www.keithsmithbooks.com Keith Smith’s Books,
all titles, information and mail order.
www.vsw.org details of Visual Studies Worskhop,
programmes, residencies and artists’ books.
www.mnftiu.cc David Rees’ Get Your War On
publications and prints.
www.weproductions.com weproduction’s own
website with details of their artists’ books and
useful links.
http://myweb.tiscali.co.uk/strictnature/
Edward Summerton’s Strict Nature Reserve.
www.wexfordartscentre.ie for the annual
Wexford Artist’s Book exhibition.
www.onestarpress.com artists’ books and artists’
multiples.
www.wsworkshop.org Women’s Studio
Workshop information and artists’ books
archive.
www.pabagallery.com Photo Book Art Gallery
website, Connecticut, USA.
www.zyarts.com/zybooks UK based exhibition
and information website, featuring various
artists making books, artist’s book gallery, news
and events, with useful links.
www.penkiln-burn.com Bill Drummond’s
website including How to be An Artist.
www.philobiblon.com site for artists’ books
information, plus links to numerous websites.
www.printedmatter.org the major artist’s book
store in New York has an online selection of
artists’ books, multiples and reference books.
129
the park. The final curiosity of this site is the
Benedictionary, a phonetic alternative spelling
site with the option to type in your own text to
‘Benedikshonise’ it, an ecclesiastical overtone
of blessed words.
Artist’s Book Website Review
Guy Begbie
Edward Summerton’s site Edward Summerton At
The Strict Nature Reserve
http://myweb.tiscali.co.uk/strictnature/ is an
intriguingly lucid presentation of a body of
work made up of disparate elements that all
have a poetic resonance and Scottish identity.
The site catalogues sculptural work, paintings,
artists’books, postcard editions, installations,
video and sound. Summerton’s site has the
option to be concluded with an exuberant
piece of text. This links all the individual pieces
of work in a description of a post apocalyptic
journey through an urban / rural environment
in which the narrator creates a contemporary
subcultural mythology.
At the time of writing this review, Benedict
Phillips site www.theBenedict.net is in the
process of being completed. However as it
stands there are some quirky pages that reveal
an intelligent and witty approach to expanding
one’s practice into a digital virtual structure,
as well as providing clear information on
conceptual projects that translate successfully
into the web site format.
At the opening page you can access A book for
loozing in the street. This describes a project
where an edition of books was produced from
found discarded objects. These books were
then placed (effectively lost) along a route
defined by their origins (where they were
found).
The opening page of The Strict Nature Reserve
takes you into a space resembling the periphery
of redundant trading estate. You click on the
sign/hoarding and you are immediately
confronted with a set of curious thumbnail
images depicting Summerton’s work in a variety
of genres. Having chosen the object option,
I particularly liked the cloven Dear Shoes and the
Hollow Log vinyl Bag that is carried by the Fly
Bastard in the narrators account. The enlarged
versions of the thumbnails include the titles
and media used to make the works. The Strict
Nature Reserve site is utilitarian and
functional in its design, a factor which is
appropriate, given the ascetic nature of
Summerton’s work.
Benedict Phillips is an artist, poet and curator
based in Yorkshire, UK. The clear layout of the
homepage is reminiscent of double page
spreads. Scrolling down to the second one, you
can link to Homeless Houses. Here, bag sized
house models inhabited with people symbols
rendered onto their surfaces, are placed in or
around public buildings in York. This work
seems to highlight a social dilemma and a
relationship between the users of these
buildings and their architectural fabric.
Scrolling downwards, the word ‘fragile’ on a
red banner demands attention on the next
spread below. This sub-section of the site,
documents aspects of an artistic endeavour, a
collaboration between Benedict Phillips and
Anne-Marie Culhane carried out in a Leeds
park. The art works were produced by subtle
interventions. These were intended to provide
intriguing diversions for passers-by. A text intro
gives details about the project. The viewer can
navigate through thumbnail images to access
documentation of specific artworks such as a
book that draws parallels between the body and
the park. Details of a touring exhibition of this
work and associated educational workshops, are
included with a summary of issues and ideas
concerning the relationship of the public with
Andrew Eason’s site www.andreweason.com
opens with text and thumbnail images floating
over an ochre and yellow striped home page.
Following the threads of hypertext and images
through the site, this striped backdrop is
consistent in a variety of hues, creating a rich
dressing to emphasise this book artists’ images
and his concern with the finer nuances of
texture and mark. Eason is a Bristol based artist
whose interest in presenting sequential text and
image in the book form is informed by his
position as a librarian at the city’s main public
library.
130
Eason’s subject matter is fairly eclectic, but runs
with historical reference on which he builds his
own singular lyricism in words and pictures. His
texts are poetic and allude to a heightened
experience of the ordinary, such as a night walk
in the city, as in the book Smoke Flower. This is a
book that acknowledges the archaeological
residue of the urban environment. Through
historical re-enactment, Eason has created
Obscura, which can be linked to from the home
page. This was originally conceived as an
installation for a performance event at Bristol’s
Camera Obscura. The site version is displayed
in a cinematic format with stills images of a
character dressed in eighteenth century
costume, he is appropriately contained within
circular lens like vignettes.
form, and the Events section lists exhibitions
video installations and performances. The
underlying glorious nihilism in the main body
of work catalogued, is celebrated through
sparse utilitarian typography and seductive
thumbnails of paintings, multiples and one-off
publications reflecting a diversity of oblique
obsessions, such as the owning, disowning and
modification of an expensive artwork by one’s
favourite artist.
Visiting Mark Pawson’s site Disinfotainment &
Kustom Kulture at www.mpawson.demon.co.uk
the aesthete in search of refined minimalist
web design will experience a major arrest of
colour recognition. The home page is a
chequered with thumbnail images in a
wonderful lurid day-glow rainbow hue. Pawson
is a self-confessed image junkie, photocopier
fetishist and aficionado of lo-fi printing
methods. He has a mail art lineage, that has
informed his methods of working, distribution
and dissemination of ideas. His bookworks are
meticulous and affordable varying from what
could be described as artists’ books to more
fanzine type publications.
Andrew Eason’s site has a useful selective links
section, listing further sites for artists’ books
exhibition venues, project facilitators and
institution collections. The overall feel of this
site does not compromise the books it
disseminates.
Keith Smith’s books site,
www.keithsmithbooks.com is a godsend to
artists wishing to actively engage with the book
structure and its cultural and technical
complexities. This site lists all the practical
manuals that Keith Smith has self published.
Clear explanatory text gives an oversight of
each manual with the option to view specific
sections of these books through the hypertext.
An order form is easily accessed and the whole
site has a minimal straightforward design
aesthetic.
As well as Pawson’s own work,it is possible to
purchase the publications of other artists on
this site. Apart from the dazzling array of
ephemera available (printed and painted
material, badges, T-shirts and toys, to name just
a few items); the sheer focussed obsessional
nature of Pawson’s practice and production
places this site in the ‘add to favourites’ league.
His publications, What are you collecting at the
moment Mark? and Noggins the Scandinavian
tourist souvenirs, display a deranged, eccentric
sensibility that is refreshingly articulated by five
years of collecting and research. Disinfotainment
& Kustom Kulture is a site where the opening
low-budget page belies the innovative use of a
high quality retro-graphic layout, once the
viewer has acclimatised and proceeded beyond
home.
www.penkiln-burn is the site dedicated to the
marketing of the work of maverick and svengali
Bill Drummond. Drummond’s former exploits
include building up his self-made myth through
a popular music empire, the KLF and the K
Foundation. He is also a conceptual artist who
has employed a range of strategies in order to
question and subvert the cultural landscape.
The site is extremely straightforward to
navigate through. At the time of writing there
are three sections to choose from at the
opening page, The Catalogue, subdivided into
Job No 5 How to be an artist and Job No.21 Silent
Protest (war art one). The ‘Shop’ page enables
the ordering of works through a downloadable
Guy Begbie is a practicing book artist and long
distance lorry driver. He lectures in Book Arts,
Graphic Design and Fine Art at Herefordshire
College of Art and Design.
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Grahame Galleries organise the Artists’ Books
and Multiples Fair (4 since 1994) Overseas
participants can submit works by post for a
small fee, without having to attend.
Centre for the Artist Book
1 Fernberg Road
Milton 4064
Brisbane
Australia
Tel: 0061 7 3369 3288
Fax: 0061 7 3369 3021
www. grahamegalleries.com.au
editions@thehub.com.au
Contact: Noreen Grahame
Artist’s Book Fairs
There are various book fairs around the world
that feature artists’ books. International events
such as Pyramid Atlantic Book Fair, USA, The
Frankfurt Book Fair and the Bibliophile book
fairs in Paris feature artists’ books, but stands
can often prove to be an expensive outlay for
individual artists or small publishers.
The following list includes fairs where artists’
books are the main feature or are significantly
represented within the fair.
For a current list of worldwide book fairs, see
the website: www.kuenstlerbuecher.de/messen.htm
Halifax Contemporary Artist’s Book Fair is an
annual, one-day artist’s book fair with events, at
Dean Clough Galleries, Halifax, now in its 7th
year. For dates and information contact:
Chris Taylor
Arts Co-ordinator
Dean Clough Galleries
Halifax
HX3 5AX
Tel: 01422 250 250
www.contemporaryartistsbooks.com
book.fair@ntlworld.com
BALTIC and Independent Northern Publishers
Book Fair Saturday 1st November 2003
11 am – 5 pm
Contact: Crista Ermiya
Independent Northern Publishers
PO Box 990
Newcastle Upon Tyne
NE99 2US
Tel: 0191 212 0354
cristae@zoom.co.uk
Centre des Livres d’ Artistes has hosted and
organised artist’s book fairs, contact them for
further details.
17 Rue Jules Ferry
87500 Saint-Yrieix-la-Perche
France
Tel: 0033 555 757030
Fax: 0033 555 757031
www.irisnet.fr/pp
London Artists Book Fair 2003 (LAB03) The next
LAB 2003 is from 28-30th November at the
Institute of Contemporary Art, London. For
details of LAB 04 & LAB 05 contact:
Marcus Campbell
Marcus Campbell Art Books
43 Holland Street
London SE1 9JR
Tel: 020 7261 0111
Fax: 020 7261 0129
lab@marcuscampbell.co.uk
Fine Press Book Association (FPBA) have book
fairs around the UK, with stands available for
FPBA members. The next fair is at Oxford
Brookes University on Sat 1st and Sunday 2nd
November 2003. See the FPBA website for more
details and for subsequent fairs.
Printed Matter Editions and Artist’s Book Fair, USA
Contact: Max Schumann (Manager) for dates /
venue information of the annual international
artist’s book fair.
Printed Matter Inc
535 West 22nd Street
New York
NY 10011
USA
Tel: 001 212 925 0325
Fax: 001 212 925 0464
www.printedmatter.org
mschumann@printedmatter.org
For FPBA membership details contact:
Janet Jackson
Glenswinton
Parton
Castle Douglas
DG7 3NL
www.fpba.com
jj@forge.demon.co.uk
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particularly designed to enable people from
diverse academic or professional backgrounds
to establish specialist skills, knowledge and
focus in preparation for practice in the field or
further study at Masters level.
Book Arts Courses
Bradford College
School of Art, Design and Textiles
Bradford College
Great Horton Road
Bradford
BD7 1AY
Tel: 01274 438 998
Fax: 01274 433 236
www.bradfordcollege.ac.uk
Contact name: Ian Colverson
Masters Degree
The MA offers you the opportunity to develop
a project from proposal to final exhibition.
Students are asked to research the content,
materials and technical skills appropriate to
their project, and produce written as well as
practical work exploring their chosen subject
area and their relationship to contemporary
practice. Applicants are expected to be well
grounded in relevant aspects of book arts and
able to define and debate their study proposals.
Individual programmes are negotiated and
supervised throughout the course in tutorials
with specialist academic staff.
Bradford offers a range of courses at
Undergraduate and Postgraduate level.
A well-established printmaking department.
Camberwell College of Arts
Peckham Road
London
SE5 8UF
Tel: 020 7514 6302
Fax: 020 7514 6310
enquiries@camb.linst.ac.uk
For more information and to order a
prospectus see www.camb.linst.ac.uk
Both courses include a Postgraduate
Professional Development Programme, which
helps students update or acquire research and
career development skills.
The Book Arts teaching team is made up of
experienced educators and practising book
artists. The course is led by Subject Leader
Susan Johanknecht, who is the founder of Gefn
Press. Course tutor Les Bicknell has work
included in the collections of the Victoria and
Albert Museum, The Rijksmuseum, and MOMA
in New York. Visiting tutors include Dr Helen
Douglas who is the co-founder of Weproductions
and winner of the Nexus Press book award,
Virginia Nimarkoh artist and curator and
Melanie Jackson artist and curator.
Book Arts - General Course Information.
Camberwell is the only college in the UK
providing specialist postgraduate study in Book
Arts. Book artists are at the forefront of
creating a new role and identity for the book,
which is being freed from its traditional role as
container of information by technologies such
as ‘e-books’ and downloadable internet sites.
The increasingly important role of the book
within fine art practice is at the heart of this
unique course, which is led by a teaching team
of experienced educators and artists. Students
are asked to explore the concept of the book
through analysis of its form and function, and
its changing nature with reference to its
historical context and its relationship to
current practice.
Hereford College of Art and Design
Folly Lane
Hereford
HR1 1LT
Tel: 01432273359
Fax 01432 341099
www.hereford-art-col.ac.uk
hcad@hereford-art-col.ac.uk
Contact name: Guy Begbie
Postgraduate Diploma
The Pg Dip is an intensive course providing an
introduction to the concept and practice of
Book Arts. Students develop skills in areas such
as printmaking, reprographics and computers,
and follow set projects to investigate narrative
structures, image and text. The course has been
Hereford College of Art and Design has a
strong interest in artists’ books. The following
courses all deliver book arts projects:
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professional practice through work placement
and exhibitions at major venues in the UK and
Europe.
BA (Hons) Illustration, Design Crafts, HND
Fine Art, Graphic Design, Spatial Design and
Photography. The college has specialist book
arts teaching staff and a good letterpress and
bindery facility. The college holds an annual
book arts competition and student work is
shown at the London Artist’s Book Fair and the
Hay on Wye Literary Festival.
In year 3 students undertake a range of project
briefs and write a dissertation. There is a final
year degree show exhibition.
This full-time, 3 year undergraduate course is
recognised as being the best available in this
field. Through its expanding international links
in Europe and North America, the course provides opportunities for student exchange.
Recent student exchanges have included
Germany and North America. Field trips to
Prague and Amsterdam have also been
organised, with future exchanges planned with
institutions in Paris. Book Arts students have
also exhibited to acclaim in major galleries and
won international awards in UK, Europe and
the USA. All first and second choice applicants
are interviewed and visits from prospective
applicants are welcomed.
For further information please contact:
Mike Brunwin Tel: 0207 514 6700
Email: m.brunwin@lcp.linst.ac.uk
London College of Printing
Elephant & Castle
London
SE1 6SB
Tel: 0207 514 6700
www.lcp.linst.ac.uk
Contact: Mike Brunwin
m.brunwin@lcp.linst.ac.uk
BA (Hons) Book Arts & Crafts
This project-based course is designed to create
opportunities for you to explore the art and
craft of the book in all its aspects. It uniquely
combines theoretical and cultural studies of
creative practice with the development of
highly specialised crafts skills. Within this
context, this 3D design course utilises the book
both in its traditional role as information
carrier, using text and illustration in the codex
form and as an art object in its own right.
Scuola Internazionale di Grafica (Italy)
Cannaregio s. Marcuola
Calle Seconda del Cristo
1798 Venice
Italy
Tel: 0039 41 721 950
www.scuolagrafica.it
info@scuolagrafica.it
Contact: Lorenzo de Castro (Director)
Carrie Galbraith (Fellow)
Units of study and options include: Formal and
structural design, historical and contemporary
design structures, form and function,
printmaking, illustration and calligraphy,
computer-aided design, photography, fine print
and typography, the book as art, paper
engineering, limited editions, cultural studies.
Options are practically-based and develop
makers as well as designers.
Year-round courses offered in the Book Arts
(Libro d’Artista) for Italian and International
students. Information for all courses can be
found at www.scuolagrafica.it.
Year 1 includes; printmaking, drawing, craft
bookbinding, and illustration, photography and
creative book practice. Core studies include;
computer aided design, cultural studies and
personal and professional studies.
Year 2 concentrates on book at structures and
fine print editions with a choice of special
electives in: advanced printmaking, design
bookbinding, artist’s books, historical and
conservation structures, computer graphics.
Core studies provide support with research and
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Bradford College
School of Art, Design & Textiles
The option to make Artists’
Books is increasingly available and
appropriate as part of the curriculum
within the School’s broad range of
courses including BA(Hons)
Graphic Media
Communication, BA(Hons)
Art & Design, BA(Hons)
Fine Art and the Masters
Degree in Printmaking.
For further information please contact:
The Admissions Officer · Bradford College
Great Horton Road · Bradford · West Yorkshire BD7 1AY
Tel 01274 433333
Fax 01274 433241
www.bradfordcollege.ac.uk
An associate college of
the University of Bradford
MA Book Arts
(Full-time 1 year, Part-time 2 years)
• explores the role of the book within fine art practice
• only course of its kind in the UK
Open Days
3 December 2003
11 February 2004
28 January 2004
17 March 2004
Camberwell College of Arts
Peckham Road
London SE5 8UF
For more information
www.camb.linst.ac.uk
enquiries@camb.linst.ac.uk
telephone: 020 7514 6302
Short Courses, Workshops and Summer Schools in
Book Arts
Hazell Designs Books
Rachel Hazell teaches basic bookbinding,
contemporary bookarts, theory and creative
writing; in Edinburgh and around the world.
Workshops from an hour to a week, custom
designed as required. All ages taught.
Will travel. Island workshops a speciality.
Rachel Hazell
Hazell Designs Books Top Flat,
3 Kirk Street
Edinburgh. EH6 5EX
Tel: 0131 554 6283
www.hazelldesignsbooks.co.uk
rachel.hazell@virgin.net
Artgoes
Artgoes publish a journal: the News Ironical and
have a website of their Artgoes Catalogue Art
Superstore. Artgoes also offer courses in Book
Arts, including summer schools at Newcastle
College and Hexham Campus
(Tel: 0800 731 7073 for dates and times).
Artgoes also run a design service and are happy
to visit colleges for workshops: At the Major’art
Surgery our ART goes into TEACHing art ‘n’
design & DESIGNing ‘artfully - it’s the 3pronged ‘art attack that’s trident-tested!
For more information on any aspect of Artgoes
contact: Chloe Daykin (chloe@artgoes.com) or
Chris Morton (chris@artgoes.com)
Artgoes
The Major ’art Surgery
Baddox
NE46 2PX
Tel: 01434 60 80 70
Fax: 01434 60 80 70
www.artgoes.com
John Jameson
John Jameson runs short bookbinding courses
around the UK.
Cotswold Bookbinders
Oak Tree House
Ewen
Cirencester
Glos
GL7 6BT
Tel: 01285 770458
www.cotswoldbookbinders.co.uk
john@cotswoldbookbinders.co.uk
Booklyn (USA)
Booklyn offer a range of educational
programmes over the full year at their book
arts centre in Brooklyn, New York. Summer
Seminars and Intern Institutes cover a range of
classes, workshops and seminars for educators,
artists and students, covering many aspects of
the book arts. Examples of courses include:
Reading Books Out Loud, The New Book;
Book Craft Tradition meets Do It Yourself
Youth-Pop Culture or The New Book in the
Twenty-first Century. For more information
regarding any of our education programmes,
please contact Emily Larned, our Education
Coordinator, who can answer any questions you
may have.
Emily Larned Education Coordinator
Tel: 001 917-612-0375
redcharming@hotmail.com
Booklyn
37 Greenpoint Avenue, 4th Floor
Brooklyn, NY 11222 ,
New York,
USA
www.booklyn.org
London College of Printing
LCP run short courses and summer schools in
Book Arts, please see the website:
www.lcp.linst.ac.uk for more details and to
order a prospectus
Book Arts
London College of Printing
Elephant & Castle, London SE1 6SB
Tel: 0207 514 6700
www.lcp.linst.ac.uk
San Francisco Center for the Book (USA)
102 workshops each trimester in all aspects
of making artists’ books. Letterpress, photo
processes, printing and bookbinding.
See the website for calendar of classes.
300 De Haro Street
San Francisco 94103
USA
Tel: 001 415 565 0545
Fax: 001 415 565 0556
www.sfcb.org
info@sfcb.org
Contact: Steve Woodall (Artistic Director)
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Scuola Internazionale di Grafica (Italy)
Year round courses offered in the Book Arts
(Libro d’Artista) for Italian and International
students, meeting once a week throughout the
academic year. Short courses in book arts
include Venice and the Book for International
students in June and July (one month courses).
There is also a two-week intensive course
during the August workshops open to all.
Information for all of these courses can be
found at www.scuolagrafica.it
Visual Studies Workshop, Rochester,
New York (USA)
VSW runs an annual book arts summer school
programme with guest artists presenting
workshops such as Printed Pranks and Protest:
Artist-Activist Publications, Marshall Weber;
Bookworks: From Meaning to Structure, Doug
Beube; Structure of the Visual Book, Scott
McCarney and Making a Digital Photographic
Book, Douglas Holleley. VSW also runs
workshops and seminars in visual studies,
photography, digital imaging and video.
Full course listings are on the website at
www.vsw.org
Visual Studies Workshop,
31 Prince Street, Rochester
NY 14607
New York
USA
Tel: 001 585 442 8676
www.vsw.org
info@vsw.org
The Scuola also has an active residency
programme for printmaking, book arts,
drawing and painting throughout the year.
Information for the residency programme can
be found at www.artsinvenice.it
Scuola Internazionale di Grafica
Cannaregio s. Marcuola, Calle Seconda del
Cristo 1798 Venice, Italy
Tel: 0039 41 721 950
www.scuolagrafica.it
info@scuolagrafica.it
University of the West of England, Bristol
Summer schools and short courses in
Bookbinding, traditional, photographic and
digital printmaking and computer design.
For booking information, or to be put on to
the short courses mailing list, please contact:
The Project Office
UWE Bristol
Faculty of Art, Media and Design
Kennel Lodge Road
Bristol
BS3 2JT
Tel: 0117 32 84810
www.uwe.ac.uk/amd/courses.htm
amdenquiries@uwe.ac.uk
Walford Mill Craft Centre
Courses in Bookbinding run regularly and
range from Accordion formats and Japanese
boxes to Leather bindings. For all enquiries or
bookings please contact: Hannah Thomas,
Education Officer.
Walford Mill Craft Centre
Stone Lane
Wimborne
Dorset. BH21 4JW
Tel: 01202 841400
www.walfordmillcrafts.co.uk
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The Faculty of Art, Media and Design
at the University of the West of England, Bristol runs regular Summer Schools in Bookbinding
for artists’ books, screenprint, etching, relief, litho and woodcut in the Print Centre.
For more information on any of these courses please call the
Project Office at UWE, Bristol on
0117 32 84834
Please also visit our website at www.uwe.ac.uk/amd
or for artists’ books events see www.uwe.ac.uk/amd/cfpr/exhibit.htm
Print Studios and Print Facilities
Bath Artist Printmakers
7 Lower Borough Walls
Bath
BA1 1QS
Tel/fax: 01225 446136
Facilities for etching, lithography, relief and
screenprint.
AM Reprographics
Unit 4 St Catherine’s Trading Estate
Whitehouse Lane
Bristol
BS3 4DN
Tel: 0117 923 1551
Fax: 0117 923 1890
www.amrepro.co.uk
info@amrepro.co.uk
Colour laser copying and printing, large format
printing and all repro scanning. Digital high
volume printing and duplication service.
Belfast Print Workshop
Cotton Court, 30-42 Waring Street
Belfast
BT1 2ED
N. Ireland
Tel: 02890 231323
Fax: 02890 230323
www.belfastprintworkshop.org.uk
info@belfastprintworkshop.co.uk
Contact: Paula Gallagher / Struan Hamilton
Open access workshop for professional artists,
also short course and workshops for beginners.
ARC Ackworth Resource Centre
7 College Terrace
Ackworth
Pontefract
W. Yorks
WF7 7LB
Tel: 01977 611 251
destina@harrides.fs.net.co.uk
A tiny, cottage based print workshop with
artist’s studio above. Courses are run here
supported by Workers Educational Association.
Birmingham Print Workshop
19c Lee Bank Business Centre
55 Holloway Head
Birmingham
B1 1HP
Tel: 0121 427 8045
Contact: Anne Crews
Facilities for etching, relief, stone lithography
and screenprint, with darkroom. Courses and
exhibitions, new members are welcome.
Artichoke Print
Bizspace S1
245a Coldharbour Lane
London
SW9 8RR
Tel: 020 7924 0600
Fax: 020 7733 5140
www.printbin.demon.co.uk
mcm@artichokeprint.demon.co.uk
Open access studios and editioning print
facilities.
Brighton Independent Printmaking
Module B1 Enterprise Point
Melbourne Street
Brighton
BN2 3LH
Tel: 01273 691 496
Open access fine art print studios for etching,
relief, lithography, collograph and screenprint.
Short courses and membership available.
Badger Press Open Access Studios
Printmaking Studio
Unit 4 Claylands Road Industrial Estate
Bishopswaltham
Hants
SO32 1BH
Tel 01489 892 127
mikegriffithsis@hotmail.com
A fine art printmaking studio offering
editioning services and tuition in most
printmaking media including: etching,
wood engraving, screenprinting etc.
Clo Ceardlann na gCnoc
Aonad S&T, Derrybeg Industrial Estate
Gweedore, Co. Donegal
Ireland
Tel: 00353 75 31271
oona@indigo.ie
Contact: Oona Hyland
Facilities for etching, relief, stone lithography,
bookbinding, digital video and sound. Centre
for innovative and collaborative projects.
141
Scotland. These include a custom-built
printmakers workshop, a gallery exhibiting
local and international artists and a retail
outlet: Gallery III. Workshop facilities are
available in etching, stone and plate
lithography, relief printing, photography and
many other processes, including a digital
imaging service. The workshop is run by an
experienced staff of expert artist printmakers.
Curwen Print Study Centre
Chilford Hall
Linton
Cambs
CB1 6LE
Tel: 01223 892 380
www.curwenprintstudy.co.uk
enquiries@curwenprintstudy.co.uk
Printmaking study centre for artists of all
abilities. all print facilities, accommodation
available. Also the Curwen Studio (Tel: 01223
893 544) is a professional artists editioning
studio specialising in high quality lithography
and screenprint editions. Contact Jenny
Rowland jenny@thecurwenstudio.co.uk or see
their website at www.thecurwenstudio.co.uk
Hafod Press
Hafod Y Llyn
Maentwrog
Gwynedd
Wales
LL41 3AQ
Tel: 01766 590 638
www.hafod-art.co.uk
hafod.art@virgin.net
Contact: Noëlle Griffiths
Artists’ studio with etching press and
accommodation.
Dove Studios (The Print Room)
Butleigh
Glastonbury
Somerset
BA6 8TL
Tel 01458 850 682
bronbradshaw@yahoo.com
Contact: Bronwen Bradshaw
Courses in book arts and printmaking offered
in studio environment with etching and hand
printing facilities. Occasional exhibitions of
prints and artists’ books.
Hand and Eye Letterpress
9 Railway Street
London
N1 9EE
Tel/fax: 020 7278 9606
www.handandeye.co.uk
handandeye@mac.com
Contact: Phil Abel
Letterpress printing and design to the highest
standards.
Edinburgh Printmakers
23 Union Street
Edinburgh
EH1 3LR
Tel: 0131 557 2479
Fax: 0131 558 8418
www.edinburgh-printmakers.co.uk
printmakers@ednet.co.uk
Contact: Zulbika Brett
Open access print studio and entrance free
gallery, specialising in contemporary and
innovative printmaking practice.
Leicester Print Workshop
50 St Stephen’s Road
Highfields
Leicester
LE2 1GG
Tel: 0116 255 3634
Contact: Sean / Sarah
Ipwsandr@btopenworld.com
Etching, relief, stone lithography, digital and
screenprint facility.
Glasgow Print Studio
22 King Street
Glasgow
G1 5QP
Tel: 0141 552 0704
Fax: 0141 2919
www.gpsart.co.uk
gallery@gpsart.co.uk
Glasgow Print Studio provides a range of
services to artists and the public in the West of
London Print Studio
425 Harrow Road
London
W10 4RE
Tel: 020 8969 3247
info@londonprintstudio.org.uk
Gallery and open access print studios and
digital studios. Introductory courses available.
142
MakingSpace Publishers
Jonathan Ward
Primrose Cottages
Barton Estate
Whippingham
Isle of Wight
PO32 6NS
Tel: 01983 884246
makingspace@btinternet.com
Editioning, design and publishing of prints,
artists’ books and collaborative projects.
Specialising in screenprint, bookbinding and
artists’ books.
The Yew Tree Press
Park Place
Aldsworth
Glos
GL54 3QZ
yewtreepress.com
colin.h@yewtree502.fsnet.co.uk
A fine press and graphic arts studio in the heart
of the Cotswolds. Typeset and design service
also offered, work is widely exhibited and
collected.
Northern Print Studio
42-27 Fish Quay
North Shields
Tyne and Wear
NE30 1JA
Tel: 0191 259 1996
Fax: 0191 259 1699
www.northernprint.org.uk
info@ northernprint.org.uk
Open access print studios, classes and courses
available. Commissions and exhibitions.
Seacourt Print Workshop
78 Hamilton Road
Bangor
Co. Down
BT20 4LG
Ireland
Tel/fax: 028 9146 0595
www.seacourt-ni.org.uk
info@ seacourt-ni.org.uk
Contact: David DuBose Manager
Seacourt print workshop is a printmaking
studio in Northern Ireland with a wide-ranging
programme for artists of all abilities.
Spike Island Printmakers
133 Cumberland Road
Bristol
BS1 6UX
Tel: 0117 929 0135/ 0117 929 2266
Fax: 0117 929 2066
Open access workshop with facilities for
etching, relief and screenprint. Editioning
available, also short courses.
143
Materials Suppliers
Paintworks
99-101 Kingsland Road
London
E2 8AG
Tel: 020 7729 7451
Fax: 020 7739 0439
shop@paintworks.biz
Contact: Dorothy Wood
Specialists in supplying to contemporary artists,
friendly and knowledgeable, wholesale paper
rates. Mail order available.
William Cowley
97 Caldecote Street
Newport Pagnell
Bucks
MK4 0DB
Tel: 01908 610038
Fax: 01908 611071
Manufacturers and suppliers of hand made
traditional parchment and vellum for writing,
illuminating, printing and bookbinding.
R. K. Burt and Co. Ltd
57 Union Street
London
SE1 1SG
Tel: 020 7407 6474
Fax: 020 7403 3672
www.rkburt.co.uk
sales@rkburt.co.uk
Wholesale paper suppliers, speciality papers for
creative use.
John Purcell Paper
15 Rumsey Road
London
SW9 OTR
Tel: 020 7737 5199
Fax: 020 7737 6765
www.johnpurcell.net
jpp@johnpurcell.net
Specialist suppliers of papers for artists; hand
made, mould and machine made various
Japanese and unusual papers. Mail order always
available, ask for a catalogue.
J. Hewit & Sons Ltd.
Kinauld Leather Works
Currie
Edinburgh
EH14 5RS
Tel: 0131 449 2206
Fax: 0 131 451 5081
www.hewit.com
sales@hewit.com
Manufacturers of fine bookbinding leathers
and suppliers of equipment, tools, materials
and sundries for all bookbinders. Mail order
available through their website.
T N Lawrence & Son Ltd.
208 Portland Road
Hove
BN3 5QT
United Kingdom
Tel: 0845 644 3232
Fax: 0845 644 3233
Shop telephone 01273 260280
www.lawrence.co.uk
E-mail: artbox@lawrence.co.uk
Suppliers of art materials from their Hove shop
outlet with full mail order on their extensive
website.
Mould Type Foundry
Leyland Lane
Leyland
Preston
PR25 1UT
Tel: 01772 425026
Fax: 01772 425001
Suppliers of metal print type.
VIP The Very Interesting Paper Company Ltd
83 Bell Street
Reigate
Surrey
RH2 7YT
Tel: 017 3722 2401
Fax: 017 3722 2267
www.cranesdirect.co.uk
vip@vipaper.co.uk
Paper manufacturers and suppliers.
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Bookbinders
Chris Hicks Bookbinder
64 Merewood Avenue
Sandhills
Oxford
OX3 8EF
Tel: 01865 769346
chrishicksbookbinder@btinternet.com
Bookbinding and book restoration, fine
bindings and box making.
Bristol Bound Bookbinding
300 North Street
Ashton Gate
Bristol
BS3 1JU
Tel: 0117 966 3300
www.bristolbound.co.uk
information@bristolbound.co.uk
Bookbinders specialising in restoration,
leather and cloth artists’ books, albums and
presentation boxes. We undertake any binding
projects.
John Jameson
Cotswold Bookbinders
Oak Tree House
Ewen
Cirencester
Glos
GL7 6BT
Tel: 01285 770458
www.cotswoldbookbinders.co.uk
john@cotswoldbookbinders.co.uk
A wide range of bindings, commissions and
repairs undertaken. John Jameson also runs
bookbinding courses at venues around the UK.
James and Stuart Brockman Ltd
High Ridge
Ladder Hill
Wheatley
Oxon
OX33 1HY
Tel/fax: 01865 875279
www.brockmanbookbinders.com
stuBrockman@aol.com
A well established family company specialising
in very high quality book restoration and
modern fine bindings.
Sarah Jarrett-Kerr
Yeo House
Nempnett Thrubwell
Blagdon
Bristol
BS40 7UZ
Tel: 01761 462 543
Fax: 01761 463 287
sarah@Jarrett-kerr.com
The aim of my bookbinding is to create a partnership between the book and its binding.
I like to collaborate with the client in the
design of my commissions, this ensures that
expectations are fulfilled with the final design.
Cedric Chivers Ltd
1 Beaufort Trade Park
Pucklechurch Trading Estate
Bristol
BS16 9QH
Tel 0117 937 1910
www.cedricchivers.co.uk
info@cedricchivers.co.uk
Craft bookbinders and conservation specialists.
Hazell Designs Books
Top Flat
3 Kirk Street
Edinburgh
EH6 5EX
Tel 0131 554 6283
www.hazelldesignsbooks.co.uk
rachel.hazell@virgin.net
Non-leather binding specialist, unusual
commissions welcome.
Shepherds Bookbinders
76 Rochester Row
London
SW1P 1JU
Tel: 020 7620 0060
www.bookbinding.co.uk
shepherds@bookbinding.co.uk
Fine bookbinders, materials suppliers and
courses. An extensive website.
145
A-N (Artists Newsletter) Magazine and
www.a-n.co.uk provides information and
insights on visual arts practice monthly and
£6.6 million of job opportunities for artists
annually.
Subscription rates for one year:
£28 UK
£35 Europe
£48 Rest of World
There is a flat rate Institution subscription UK
and Worldwide of £48 for one year.
Magazines and Journals
Afterimage
Visual Studies Workshop,
31 Prince Street
Rochester
NY 14607
New York
USA
Tel: 001 716 442 8676
www.vsw.org/afterimage/index.html
afterimage@vsw.org
Afterimage is a bi-monthly journal of media
arts and cultural criticism. Containing new,
essays, reports, profiles, artists’ pages and artists
opportunities.
USA Subscription Prices:
$30 One year individual
$55 Two year individual
$60 One year libraries / institutions
$20 One year student (include ID)
For non USA subscriptions, add $15 a year for
surface mail or $30 for guaranteed air mail.
Immoral Compass / Stokey Comics
Basement
104 Shakespeare Walk
Stoke Newington
London
N16 8TA
Tel: 020 7249 2187 / 07711 334 913
ladnicholson@yahoo.co.uk
We publish strip comics that investigate the
underbelly of the zeitghost and promote truth
and justice the Stoke Newington way.
Art Monthly
4th Floor
28 Charing Cross Road
London
WC2H 0DB
Tel: 020 7240 0389
Fax: 020 7497 0726
www.artmonthly.co.uk
info@artmonthly.co.uk
subs@ artmonthly.co.uk
Art Monthly is a contemporary visual arts
magazine with a regular section devoted to
artists’ books.
Subscription rates for 10 issues:
£34 UK (£41 Institutions)
£43 Europe (£51.50 Institutions)
£55.50 Rest of World (£66 Institutions)
$60 US Dollars North America ($65
Institutions)
JAB (Journal of Artists’ Books)
110 Warren Lane
Charlottesville
VA 22901
USA
Tel: 001 434 244 33319
jabeditor@earthlink.net
JAB was founded in an attempt to raise the
level of critical inquiry about artists’ books.
Since 1994 we have published over seventy
articles, reviews, and interviews by fifty different
authors. The wide range of opinion and depth
of writing has made JAB an indispensable
resource for practitioners and scholars
interested in the growing field of artists’ books.
JAB is published twice each year, once in the
spring and once in the autumn. It is usually 32
pages, always 8.5” x 11” with no advertisements.
Subscriptions are by the year. Back issues are
available. Sample issues are $9 US Dollars.
All prices include shipping.
$22 US Dollars individuals in US, Mexico,
Canada ($35 US Dollars Institutions)
$24 US Dollars individuals outside North
America ($45 US Dollars Institutions)
A-N The Artists Information Company
First Floor
7-15 Pink Lane
Newcastle
NE1 5DW
Tel: 0791 241 8000
Fax: 0791 241 8001
www.a-n.co.uk
info@a-n.co.uk
146
Tel: 001 310 399 1146
Fax: 001 310 3995070
http://colophon.com/umbrella/index.html
umbrella@ix.netcom.com
A journal of the small press culture of artists’
books, artist-created ’zines, mail art, and related
disciplines, published since 1978. See the
Umbrella link on the Colophon website for
sample essays and interviews, with some
reference booklists and outlets for artists’
books. Subscription: $18 for 1 year in USA.
Parenthesis: The Journal of the Fine Press Book
Association
Membership /subscription contact:
Janet Jackson
Glenswinton
Parton
Castle Douglas
DG7 8NG
jj@farge.demon.co.uk
Parenthesis is supplied to members of the FPBA
twice a year for a fee of £25 which includes
membership of the association.
WOID
http://theorangepress.com/.
paul.werner@nyu.edu
A journal of visual language. Its focus is: the
book arts, calligraphy, semiotics, medieval
paleography, codicology, the history of the
book, and generally the questions and
problems raised by writing in all its forms.
We publish reviews and listings of events
concerned with visual language as they occur,
mostly in New York City, and edit a web-site of
resources for visual language in New York City
and Paris.
Printmaking Today
Cello Press Ltd
Office 18
Spinners Court
55 West End
Witney
Oxon
OX28 1NH
Tel/fax: 01993 701 002
mail@pt.cellopress.co.uk
The journal of contemporary graphic art
world-wide with regular features on book arts.
Subscriptions to WOID are $10.00 a year, but no
one is turned away. We do not request payment
when you sign up. Rather, we send out a single
request once a year in September, which you
are welcome to grant or to ignore. To subscribe
to WOID, contact the editor at
paul.werner@nyu.edu
To view temporary archives of reviews and
listings see the website at:
http://theorangepress.com/
Subscription rates by volume (4 issues per year)
£20 European Union (£28.50 Institutions)
$40.50 North America ($54.50 Institutions)
£28.50 Rest of World (£39 Institutions)
The Art Book
Laughton Cottage
Laughton
Lewes
East Sussex
BN8 6DD
Tel: 01323 811 759
Fax: 01323 811 756
ed-exec-theartbook@aah.org.uk
Contact: Sue Ward Executive Director
Quarterly publication (Blackwell Publishing Ltd
and The Association of Art Historians) The Art
Book provides accessible and critical reviews of
new publications on all aspects of the visual arts
including artists’ books.
Founded in 1973, the Orange Press publishes
pamphlets that explain and encourage the
various practices of visual language. For more
information on the Orange Press or WOID
contact Paul T. Werner.
Other journals occasionally featuring artists’
books include:
Art in America
Artforum
Creative Review
Leonardo
Arts Canada
Art Journal
Art Review
Umbrella
Editor: Judith A. Hoffberg
P.O. Box 3640
Santa Monica
CA 90408.
USA
147
JAB
JOURNAL OF ARTISTS‘ BOOKS
ISSN 1085-1461
JAB was founded in an attempt to raise the level of critical inquiry about artists’ books.
Since 1994 we have published more than seventy articles, reviews, and interviews by fifty different authors.
The wide range of opinion and depth of writing has made JAB an indispensible resource for practitioners and
scholars interested in the growing field of artists’ books.
JAB is published twice each year, once in the spring and once in the fall. It is usually 32 pages, always 8.5” x
11”, with no advertisements. Subscriptions are by the year. Back issues are available. Sample issues are $9.
All prices include shipping and handling.
$22.00 - individuals in US, Mexico, Canada
$24.00 - individuals outside North America
$35.00 - institutions in US, Mexico, Canada
$45.00 - institutions outside North America
If you would like to receive a 2003 subscription
which includes JAB19 & JAB20,
please send a check or money order in US dollars
payable to “JAB” to the following address:
JAB
110 Warren Lane
Charlottesville, VA 22901
USA
tel. 434.244.33319
jabeditor@earthlink.net
nether wallop
a new artist’s book by brad freeman
will be available in spring, 2004
“I’ve gone off on a tangent, but everything that organizes an individual is
external to him. He’s only the point where lines of force intersect.”
Viktor Shklovsky - A Sentimental Journey Memoirs, 1917 - 1922
Reference and related publications on the Book Arts
Ford, Simon Artists’ Books in UK and Eire
Libraries Estamp, London, 1992
Bicknell, Les Are There Any Limits To What Can
Be Called Book Art? Essex, 1994
Gilmour, Pat Artists and Books in the 20th Century
Circle Press, London, 1990
Bury, Dr Stephen Artists’ Books: The Book as a
Work of Art 1963-1995 Scolar Press, London,
1996 (1998)
ISBN 185928 163X
Holleley, Douglas Digital Book Design and
Publishing Clarellen, New York, 2001, updated
2003 ISBN 0 9707138 0 0
Johnson, Robert Flynn and Stein, Donna
Artists’ Books in the Modern Era 1870-2000:
The Reva and David Logan Collection of Illustrated
Books, Thames and Hudson, London, 2001
ISBN 0 500 23948
Bury, Dr Stephen Artists’ Multiples 1935-2000
Ashgate, Hants, 2001
ISBN 0 7546 0075 0
Castleman, Riva A Century of Artists’ Books
MOMA, New York, 1994
ISBN 0878781517
Jones/Turner/Tyson Contemporary Artists’ Books:
Parts 1 & 2 published supplement in
Artists’ Newsletter, April 1989
Courtney, Cathy Private Views and Other
Containers Estamp, London, 1992
ISBN 1 871831 09 1
Klima, Stefan W. Artists’ Books: A Critical Survey
of the Literature Granary Books, New York, 1998
ISBN 1887123180
Courtney, Cathy The Looking Book:
A pocket history of Circle Press 1967-1996
Circle Press, London, 1996
ISBN 0 90138071 7
Lauf, Cornelia and Phillpot, Clive
Artist/Author: Contemporary Artists’ Books
Distributed Art Publishers (DAP) 1998
ISBN 1881616940
Courtney, Cathy Speaking of Book Art: Interviews
with British and American Book Artists
The Red Gull Press, 1999
ISBN 0962637254
Lyons, Joan (ed) Artists’ Books: A Critical
Anthology and Sourcebook Peregrine Books,
New York, 1985, 1987, updated 1993
Visual Studies Workshop Press, New York
ISBN 0879052805
Doggett, Sue Bookworks: Books, Memory and Photo
Albums, Journals, and Diaries Made by Hand
Watson-Guptill Publications, 1998
ISBN 0823004910
Peixoto, Tanya (ed) Artist’s Book Yearbook
1994-5, 1996-7 and 1998-99
Magpie Press, Middlesex, 1994, 1996, 1998
(all available from Bookartbookshop, London)
Drucker, Johanna The Century of Artists’ Books
Granary Books, New York, 1995
Hardback ISBN 1887123016
Paperback, 1997 ISBN 1887123024
Phillpot, Clive and Hendricks J.
Fluxus: selections from the Gilbert and Lila
Silverman collection MOMA, New York, 1988
ISBN 0 87070 311 0
Findlay, James A. Pop-up, Peek, Push, Pull … An
Exhibition of Movable Books and Ephemera from the
collection of Geraldine Roberts Lebowitz
Bienes Center for the Literary Arts, USA, 2001
ISBN: 0 9678858 3 3
Rolo, Jane and Hunt, Ian (editors)
Book Works: A Partial History and Sourcebook,
Book Works, London, 1996
ISBN 1 870699 20 3
Finlay, Alec (ed) Libraries of Thought &
Imagination; an anthology of books and bookshelves
Pocketbooks, Edinburgh, 2000
ISBN 0748663002
Smith, Keith A. 200 Books: An Annotated
Bibliography Keith Smith Books, New York, 2000
ISBN 0 9637682 7 1
149
Smith, Keith A. and Jordan, Fred A.
Book Binding for Book Artists
Keith Smith Books, New York, 1998
ISBN 0 9637682 5 5
Turner, Sylvie (editor)
Facing The Page: British Artists’ Books
Estamp, London, 1993
ISBN 1 871831 11 3
Smith, Keith A. Non-Adhesive Binding Vol I:
Books Without Paste or Glue
Keith Smith Books, New York, 1999
ISBN 0 9637682 6 3
Reference and Contemporary Exhibition Catalogues
A Tale of Two Cities:
Artists’ Books from Bristol and New York
(ed) Sarah Bodman,
Impact Press, UWE, Bristol, 2001
ISBN 0 9536076 6 6
Smith, Keith A. Non-Adhesive Binding Vol II:
1-2 and 3 Section Sewings
Visual Studies Workshop Press, 1995
ISBN 0 9637682 2 0
Artists and Books in the 20th Century
Circle Press, London, 1990
Smith, Keith A. Non-Adhesive Binding Vol III:
Exposed Spine Sewings
Keith Smith Books, New York, 1995
ISBN 0 9637682 4 7
Artists’ Bookworks
British Council, London, 1975
Smith, Keith A. Non-Adhesive Binding Vol IV:
Smith’s Sewing Single Sheets
Keith Smith Books, New York, 2001
ISBN 0 9637682 8 X
Between Poetry and Painting
ICA, London, 1965
Books As Art
Boca Raton Museum, USA, 1991
Smith, Keith A. Non-Adhesive Binding Vol V:
Quick Leather Bindings
Keith Smith Books, New York, 2003
ISBN 0 9637682 9 8
Books As Art (ed)Andrew Bick,
Cheltenham & Gloucester College of HE, 1998
ISBN 1 86174 067 0
Smith, Keith A. Structure of the Visual Book
Keith Smith Books, New York, 1995
ISBN 0963768212
Books By Artists
Art Metropole, Toronto, 1981
Books by Artists (ed)Sarah Bodman,
Impact Press UWE, Bristol, 1999
ISBN 0 9536076 0 7
Smith, Keith A. Text in the Book Format
Visual Studies Workshop Press, New York, 1989
ISBN 0 9637682 3 9
Books By Artists
Printed Matter, DIA, New York, 1992
Stein, Donna Cubist Prints: Cubist Books
Franklin Furnace, New York, 1983
Book Works London, publications catalogues
1994 onwards
Strachan, W. J.
The Artist and the Book in France Peter Owen,
London, 1969
British Artists’ Books 1970-1983
Atlantis Gallery, London, 1984
Szczelkun, Stefan
The First British Artists’ Bookmakers Conference,
September 1993
Copyart, London, 1993
Changing Places
Collins Gallery, Edinburgh 2000
Cooking the Books: Ron King and Circle Press
Andrew Lambirth,
Yale Center for British Art/Circle Press,
London, 2002
Szczelkun, Stefan
UK Artists Books: Marketing and Promotion
Estamp, London, 1993
150
Collaborations: Ian Tyson and Jerome Rothenberg
Livres d’Artiste 1968 - 2003
Eric Linard Galerie,
Published by ed.it, France, 2003
The Open and Closed Book
V&A Museum, London, 1979
The State of the Book Arts
Craft International, Oct/Nov/Dec 1984
Greenwood Contemporary Books
London, 1995
Halifax Contemporary Artist’s Book Fair
annual catalogue of exhibitors
Turning Over The Pages: Some Books in
Contemporary Art Pavel Büchler (editor)
Kettles Yard Gallery, Cambridge, 1986
Inside Cover Jonathan Ward, MakingSpace
Publishers, 2000
ISBN 1900999 13 7
The Body and the Book: Looking at the artist’s book
and the body Dr Stephen Bury, Flaxman,
London, 1996
London Artists’ Book Fair
annual catalogues of exhibitors
UK Artists’ Books 1992
Working Press, London, 1992
London Series 1990
Circle Press, London, 1990
Work And Turn: Artists’ Bookworks From The UK
1980-1992 Open Editions, London, 1995
(paperback) ISBN 0949004065
Looking At Words / Reading Pictures
Hardware Gallery, London, 1994
Words From the Arts Council Collection,
Fiona Bradley,
Cornerhouse, Manchester, 2003
ISBN 1 853322261
Modern Art Books
Marcus Campbell, London, 1993
Painters and Poets in Print
South Bank Centre, London, 1990
Repetivity: A Platform for Publishing
Simon Cutts and Colin Sackett
RGAP, Derby, 2000
ISBN 0 901437 50 6
The Artist Publisher: A Survey
Coracle Press, London, 1986
The Artist’s Book: The Text and Its’ Rivals
Visible Language, Vol 25, 213, 1991
The Book Made Art
University of Chicago Library, Chicago, 1986
The Consistency of Shadows:
Exhibition Catalogues as Autonomous Works of Art
Anne Dorothee Böhme and Kevin Henry,
The Joan Flasch Artist’s Book Collection,
School of the Art Institute of Chicago, 2003
The Coracle: Coracle Press Gallery 1975-1987
Exhibition at Yale Center for British Art, USA
November 1989 - January 1990,
Coracle, London, 1989
151
Turning back, though, to the descriptions in
the book, there’s still a madly-impending,
Brazil-like totalitarianism to the sorts of things
categorized and commented upon. In this
world, the people must be the right shape for
the machines, and the text bristles with words
and phrases of control and subjugation.
Artist’s Book Reviews
Andrew Eason
Modern (Laundry) Production
Susan Johanknecht
Here’s a world where the supply of soiled linen
must be consistently maintained, and where
special precautions must be taken to preserve
the continued “bore and flow of the dirty
liquor.” Despite the vivid language, this is the
world of laundry.
Susan Johanknecht’s Modern (Laundry)
Production interposes the minute and arbitrary
observations of 1940’s handbooks on
industrial-scale laundry procedures, with
images of a figure carrying out some arcane
part of the processes described. The figure in
these repetitive, grainy images is reduced to an
arm and a torso, endlessly loading linen into an
unknown machine. Cut off from their original
contexts, both words and pictures take on the
qualities of poetic statement, an effect
intensified by Johanknecht’s decision to
organise the text into free-floating units.
Language used to describe the mundane
routines of sorting, washing, ironing, etc, starts
to constellate deeper meanings. Some
meanings resonate with body imagery, others those categorising materials and types - spark
off ruminations on the definition of material
substances, and how these definitions have
been organised in many ways over the
centuries.
Clothing is washed in a cage, processed
through a cuff and yoke press. Time itself is a
commodity to be used in the most efficient way,
or it is wasted time. Every action, every
movement is under observation (a method of
control associated with 19th Century penal
theories). Calibration, observation, control are
the emphasised qualities. But still, the language
of the text (mostly an apparently honest lift
from the 1940’s originals) is rebellious.
It springs into forms that rebel against the
[1940’s] author’s original intention. The effort
of maintaining the cyclopean rigidity of these
incantations-against-waste struggles against the
language’s tendency to suggest bodies, feelings,
tactility. This in turn reflects back on the
imagery. The grainy, boring-looking pictures,
each with their original, hand painted numbers
start off seeming identical. One notices
eventually that there is movement. This, one
discovers, is a picture of one of the processes
described so minutely in the text. A woman
(well, an arm, actually) is feeding clothing into
a calendering machine. Eventually, through the
repetition and the gradual drift between text
and image, eventually our imagination steps
out of the frame. Fills in, however sketchily,
some of the gaps. Adds the missing head and
limbs. Supplies the thoughts and boredom of
the operator, supplies the texture of the
clothing and the noise of the press.
This field of play is an interesting way to cast an
eye over the laundress’ activities. Repetitive as
these activities are, the weave of description
begins to suggest an alchemy, or a set of
Aristotelian transmutations that turn the
endless waves of cotton, silk and wool into
the days and thoughts of the operator.
The last words of the text seem to turn from
the voice of the machine/management to that
153
clothing looks a lot like paper. calendering
(the process shown) is something we do to
paper too, to smooth the surface. Something
filters through to the book in one’s hands: the
product of art and craft, rather than industrial
labour, but nonetheless the product of hands
and machines.
of the laundress, whose language is formed in
the same mould. She uses phrases that indicate
she is tied to the machine in some deep way.
She is “pushing thoughts / into the machine”,
she must “push the day on, push it through”.
The interface (the material that lines and
enables the smooth contact between surfaces)
is fabric itself. The wools, silks, linens that have
flowed through her hands and have become
her time and thoughts.
Modern (Laundry) Production takes a (largely
defunct) industry and subjects it to a scrutiny
regarding the human experience of work in
such circumstances, and wider issues
constituting identity and roles in society at
large. As such, it covers areas on the
relationships with work prevalent in all such
highly-managed, production-oriented
environments. It constructs, largely successfully,
the reverie of repetitive work and exposes the
instability of the controlling language used to
manage the thought and action of the workers.
I would have liked more of the worker’s voice
at the end. I’d have enjoyed a move into the
abstract territory of the laundress’ thought that
had time to allow certain movements to
transpire, to reveal a little more of the possible
involutions and complexities of the worker /
machine relationship. But it functions perfectly
well as a coda; the catalysing process of a
different voice chanting the (by now worn-out
and slipping) taxonomies of laundry
accomplishes the mission of transformation.
Modern (Laundry) Production uses its sources
well, and presents them coolly and seriously.
There’s also a parallel with the industry of
print. Traditionally seen as a male occupation,
print, too, has its presses, its mighty machines,
its tactile materials and consistencies. Print has
its human devotees, subservient to the great
presses, and a similar network of language and
custom to describe and account for such
distinctions and processes. But printing has
always been highly organised and unionised,
and, though typically the conditions in the past
have been as bad as in other industries, printers
enjoyed privileges and traditional rights not
extended to the laundry industry, for example.
Printers, in fact, had also the benefit of a long
history of insular development that gave them
an almost priest-like identity, surrounded by
jargon and secrets. This, I think, would have
made for a different sort of interface between
the worker’s identity and the work.
Paddle Notes
Andi McGarry
I’m scared of boats. But Andi McGarry isn’t.
His Paddle Notes sets him right at home in an
open boat, a situation that has me thinking of
dehydration and eating the other hapless
mariners in the outer reaches off Franz Josef
land. Andi McGarry’s a more intrepid soul, and
his comfort with and openness to the
experience of being in a little boat; rowing
about and diving off it, roaming about the coast
and enjoying himself, shines through in this
book.
I like a book with a bit of something in it. This
one has only drawings with a brush in black
ink, but the quality of simple observation and
The pictures in Modern (Laundry) Production
look a lot like printing, too: that piece of pale
154
surface would spoil the material and the effort
would go in the bin. It also reveals more
calculation in the effects achieved. Although
the one-word review remains “charming”,
I’ve got to look at the fact that the charm is
intended. That the artist has been artful, rather
than naive.
the assembly of poetic reflection achieves
much. Several pages convey a sense of space
with little more than a horizontal black line
three-quarters of the way up the page. The
background is on roughly marbled paper, with
little broken-up mottlings of bright colour
tapping in simple cues for space and
atmosphere. McGarry works this (pretty good)
trick in many of the pictures making up this
book. The other one is to have swirly bits of
marbling filling up the whole picture plane
(no horizon)- this becomes a subsurface space
where the diving and bubbling goes on. My
favourite page has the line “clouds in double
surface” and separates two groups of puffy
shapes with a horizontal line across the page.
The basic background is (as throughout) on
marbled paper, this time quite open with
hundreds of small sky-blue marks. It achieves as
good a feeling of a calm, open sea as I’ve seen
anywhere.
These artful effects hold their own. The glow
of the marbling and the swirling colours
combined with the pouncing expressive line
make several pages quite dramatic. I can’t
get over the space that combining the two
elements of the marbling and the inky line has
produced. Either one of these elements on
their own would tend towards a flattening
effect. But in these hands they’ve been
transformed.
There’s an element of transformation in the
narrative as well. The rowing, diving (and, one
feels, probably pic-a-nicking) figures aren’t
clothed: if this is happening off the Irish coast
there’s gonna be shiverin’. Of course, it’d be
daft to expect wetsuits. This is happening in a
luminous world where the landmarks turn into
chapters, the noticing of fish into events that
penetrate with wonder. It’s a childlike view of
the world in some senses: although there’s
clearly adult wonder going on here too. In this
way it’s a somewhat cinematic book. Shafts of
illumination peep through as we open up
concurrent pages, and build up into a narrative
space that we travel through (“row through”
seems appropriate). And we get a nicely
cinematic ending too. The inky camera pulls
back and isolates the tiny boat on a vast surface,
“huge swathes of silver shadow”, then pulls back
further, until our only connection is the sound
we can still hear of the oars: “dip creak, dip
creak” And fade out...
Investigating this paper again just now I got a
bit of a shock: I had assumed that the various
spreads in this concertina-format book were on
seperate bits of marbled paper, selected for
their appropriateness to individual pages.
It’s actually on one continuous sheet: so the
artist has deliberately dipped the precise areas
on the sheet into the differently-prepared
marbling trays. I’d not suspected such a level of
organisation: the playful line and unique
character of the books prepares one for
something of a dashed-off miracle. There’s still
a lot of that to it: it takes tremendous poise, a
clear vision and a good heart to plunge right in
like this. It’s got that in common with Chinese
brush painting. Every mark tells: no
pentimenta. (In fact, regrets of any kind have
no place in this book.) Preparing the paper like
this ups the ante a little bit. To fail on this
I love this book even more for discovering that
he meant it. What I mean is that I’d previously
seen the effects and thought them happy
coincidences, or as wise choices of material at
the most complex. But in reality this is a
carefully-planned work that artfully arranges
itself to produce the effects that we experience.
It tells us that we can be aware of the world
around us, and experience it in all it’s
sensational vibrancy, and still use our awareness
to make and think in articulate ways.
155
doubt.) Rather than the roiling turmoil of guilt
and sensuous abandonment that could have
been frothed up out of the subject, we get;
“I will probably ration myself to a few a night”
Which dry response might play well in a more
documentary setting, but we’re camped out in
Black Magic territory and the liner-pages
between the pages are sighing “ecstasy...delight
... satisfaction...fulfilment...luxury...paradise”.
I want to grab the book by its lapels and shake
it to demand more... more dammit!
A Chocolate Journey
Isabell Buenz
My friend has just walked through and said that
Anthony Worral-Thompson is preparing a
sumptuous repast of pickled scorpions and
black ants on his TV show. A fact I’m including
merely for contrast.
Isabell Buenz’s A Chocolate Journey is beguilingly
packaged in dark & mysterious black and
purple. One uncoils the purple satin ribbons
from their fastening places and takes a peek
into the dim underworld of chocolate fixated womanhood.
Unfortunately this book doesn’t extract very
much from its subject matter. I can’t fault
the presentation, though, and while the
photographs of the chocolates themselves are a
bit same-y and miss out on the obvious trick
of whittling a pile of them away as one goes
through the book, they’re excellent
photographs.
“If you had a box of chocolates all to yourself,
what would you do?” I asked my girlfriends.
“What, all to myself?” would some of them say,
with shining eyes.”
What follows is a vox pop, as it were, of various
slightly-but-not-really-guilty pleasures. A series
of pastel-hued commentators pop up airing
their confectionary-based foibles alongside an
equal number of pictures of chocolates in their
gaudy wrappers.
Maybe I’m missing the point a bit with this
book. It has a series of these unprepossessing
confessionals whose effect is to swaddle what
doesn’t seem all that horrifying a sin in yet
more layers of innocuous cameraderie and
harmless ritualisation. Perhaps that’s the aim.
Certainly there’s no particularly convincing
sense of journeying into private pleasures, nor
is there a sense of identity carried over the
book’s development. Rather, it’s a continuation
of the themes already prevalent in the way the
product (chocolate) is advertised: it’s a tiny bit
naughty. It’s a tiny bit luxurious. It’s a tiny
gratification. I wish there had been more of an
attempt to tease out the further uses, abuses
and anxieties chocolate engendered in the
respondents.
I’d expected more, really. The quality of
workmanship on the box containing the book
is good, and approaches its model - the
industrially-produced chocolate box.
I’d expected someone lavishing this degree of
care over their selection and use of materials
(correct weight of card, lovely-but-not-toosnooty-construction-quality, satin bows,little bed
of faux-chocolates inside for the book to nest
in) to have made something more of the
content. Granted, if these are real interviews,
then one is drawn away from possible answers
to the question (“I run off to my tower in the
woods and feed them all (except the strawberry
cream) to the corpse of my murdered lover
whilst my mad sister plays the organ in the
crypt”) and drawn towards the mundanity of
the actual answers “I only like sharing
chocolates with my husband because he likes
the ones I don’t” ( a statement whose veracity,
at least on the husband’s side, I (unreasonably)
The way that the posited “Chocolate Journey”
might have gained depth would be, I think,
through a reading from one character to the
next. How they use chocolate. How it affects
them. In short, to ask more questions. I think a
dialogue between word and image would have
been fruitful too, rather than the (nicely
composed) repetition that dominates the book.
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confusion and the absence of justice. But here,
all is peaceful. There’s a box of paper from a
supplier on the table. The supplier’s name is
Paradis. I wonder if the paper is made from the
pulp of forbidden trees.
Judging by the quality of image and
construction, I’d want the artist to have
achieved more here. The capability
demonstrated in producing a work of palpable
material luxury such as this one, is capable of
twisting that luxury into forms that do more
than play into the patterns of advertising. I
think there were glimmers of intention behind
this book that wanted to present something
more subversive than the final product. I don’t
mean uncomfortable, or challenging in that
sense: I think there may have been an intention
originally to create a much more voluptuous
response.
I pick up this book, with its heavy wooden
covers. There’s a hole in the front of the book.
I take a deep breath and heave myself into it,
descending (if that is the word) into the
torments of paradise. It’s a tight squeeze, and
when I make it I’m not sure that I don’t prefer
my previous world. At least there I have
luxuries. I can wear the shroud of ignorance
from time to time.
There was an initial situation created by the
excellent packaging and construction of the
book. Very effective in setting the scene for
some sort of metaphorical chocolate combat,
but let down, unfortunately, by the interior.
But on this showing, I would hope that the
artist will continue making books, and working
more on how they create the content for them.
My guide is a dog. A survivor, but not a
reassurance. An accomplished accompanist,
his howl counterpoints the main themes and
drags my attention around as I bump along the
bottom. I’m bombarded with texts and images
that seem to burst all around me like shells.
There’s no peace here, not even in the fabrics
of the body itself. The appeal to Gerald Manley
Hopkins’ Windhover, usually a source of
satisfied perfection in nature, is winged: a hurt
hawk spirals down and is consumed. There’s
hunger, destruction death, accusation.
Paradise is Always Where You’ve Been
Sandy Sykes
Paradise, though. There are tiny glimpses of
what has failed. It just makes the absence
harder to bear. There are territories, loves, losses touched upon. There was supposed to be a
design to which everything conformed. There
was supposed to be justice: here the notion is
poked fun at. It’s just another criterion in
God’s box-ticking management-style, and
subject to change without notice. But power
remains. There’s plenty of that, for those that
have it, and precious little for those that don’t.
The only power left to some is the accusation
their bodies make after their death. Their
power is in the vacuum made by their removal
from life. The dog’s howling again. I wonder
Paradise usually suggests and pre-supposes its
opposite. And the threat of transition from one
to the other. This book’s title “paradise is always
where you’ve been” denies us the distinction,
and challenges us to look at paradise depicted
in the round. It’s a shocking place.
I’m writing here, looking out at a bright sky, a
few russet trees not touched yet by spring.
A herd of placid animals seem to be looking at
me. All very peaceful. Yet this is only removed
geographically from hell, and is less than the
width of an instant away from airwaves
saturated with panic, recrimination, lawlessness,
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in its path. I’ve got to get out of here.
Fortunately, there’s another hole in the back of
the book.
that he has the breath, so rarefied has the
atmosphere become. Most of the oxygen taken
up by burning or sucked into the lungs of the
weeping survivors. Power doesn’t seem to need
the air, but would deny it to those that do.
“Why?” takes breath to say.
Made it. Phew. So that’s all right then.
I needn’t say, really, that I found this a
disturbing book. I can’t respond to its beauty,
because I don’t like it that way. I feel that a
ranged and imaginative assault has been made
on my complacencies. I’m not as shattered as
I’ve suggested, a bit melodramatically, above.
But I am, at least for now, haunted. This book
is from a series Sykes has made from Dante’s
Divine Comedy. The foreword notes how she’s
jettisoned a close-reading illustrative approach.
She’s kept the book “in the Terrestrial here and
now” Not in Dante’s heaven. Just as there’s no
escape from heaven, there’s no escape from the
profound moral flimsiness that seems to be part
of being mortal.
There’s a great deal of activity here, a great
deal of exercise to be had. Bracing actions that
mean something, or don’t. Setting yourself
alight. Being executed. Starving or being
beaten.
I wish the dog would say something. Perhaps
the best, the only thing to say is what he’s
already saying. Perhaps better not to try to
articulate a précis, a meaningful pattern in this
best of all possible worlds. Certainly it’s a
blessing to have power without responsibility in
this world. The power to wear ignorance like a
shroud, the power not to have to tread the
knife edge of action, which would surely show
one up as the less-than-omniscient strategist
one really is. Not to take action, to dwell in
insularity and protection. With all you can eat.
That’s paradise, isn’t it? The most precarious
stage in the world. A backdrop for hubris to
unroll like a wave upon.
Paradise is always where you’ve been also suggests
that the only safe haven for perfection is in the
past, in memory. Beyond the reach of the
powers to contain or control it, or subvert it to
its ends. It doesn’t insist that there ever was a
good place to be in the past, just that it’s now as
untouchable as the possible outcomes of action
are, somewhere out there in the future.
Pitt Rivers Museum: An Eccentric Collection
Rosemarie Shortell
Rosemarie Shortell’s book :Pitt Rivers Museum:
An Eccentric Collection brings together a large
number of drawings, paintings and prints based
on artifacts in the museum. It’s been a while
since I’ve handled a book that contains so
much unique material, and I’ve seldom
handled books where the text is 100% hand drawn calligraphy. It’s rather nice. In a way, it’s
also the first “non-fiction” artist’s book to come
my way. I’d usually expect the graphic
requirements of a book like this to be taken
care of by more conventional means, but the
result, though a little eccentric, is neat and tidy.
The illustrations likewise, uniformly accomplish
their graphic duties.
One of the several reasons we still have so many
intact Roman ruins in Italy is because of their
mortifying religious effect. They are possessed
of what some Pope or other called an
“exemplary frailty”. The ruins of a great
empire, now festooned with the garlands of
chaos nature throws around to cover up the
starkness of our failures. They were spared
complete destruction partly because they
remind us of the transitory nature of all things,
even civilisations. Sykes has prearranged some
contemporary ruins for us, so that we get an
odd time warp effect of looking in at our
civilisation in ruins before the fact. It’s already
in ruins in my mind. The force of my own
inevitable hypocrisy advances through my life,
smashing up all the fine facades and everything
I’ve always been shy of saying anything that
distinguishes illustration from other book-andtext practices, but here I have a book which is
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then sails, page by page, from one plotted
position to the next, a photograph
accompanying the parallel page showing the
evolving course, and the course data tabulated
alongside it, giving all the essentials like time,
bearing, speed and windage. Enough data to
recreate the course as an animation, I wonder?
It’s a quite successful juxtaposition, one given
in a lot of descriptions of sailing: the
combination of exacting skill, the positivist
obsession of establishing place without
reckoning, and placed beside that, the vivid
light, the ponderous apprehension of the land
seen from the sea. The feeling of being at sea,
detached and independent, yet wholly
dependent on one’s charts and measurements.
a labour of love, showcasing the artist’s
illustrative skill. I can appreciate the difficulties
of being faced with a tidal wave of information
like the Pitt Rivers Museum, and I can also
identify with the impulse to take examples,
to structure simply, to tread lightly over the
surface of the vastness embodied in the source.
But I also wanted the artist to zoom in: to close
off some area and work it more investigatively.
Beachy Head is one way of envisaging this
relationship- a dual description, one technical,
immediate, of the moment and projected as a
course of such moments over time, the other
represented by photographs, paradoxically far
from instantaneous, depending instead on
looking ahead, looking behind. The closest the
photographic gaze gets to its object, the closest
it is to Beachy Head itself, and this moment of
the gaze, of the most immediate photograph, is
punctuated, appropriately, with a lighthouse.
That moment, achieved, gradually recedes, as
the course continues, still reliably plotting the
now.
This a book superior to any guide book.
No commercial publication will ever give you
the sense of the hours spent looking at and
researching these objects. I wish, though, that
I could have had some glimpses of the artist’s
own thoughts, and what these treasures
inspired in them.
Beachy Head
Christine Kermaire
Over the last couple of years I’ve made several
stabs at acquainting myself with 3-D computer
programmes, with a view to creating animations
(which have never actually emerged). One of
the neat things I found one could do, was
to fix the virtual camera on a point in the 3-D
space you’d just so painstakingly crafted. The
camera keeps looking at this point wherever
you move the camera’s point of view, which
gave me a nice filmic thrill.
I found the simplicity and scope of the book
exhilarating. The spare conceptualisation
benefits from the good material. The photographs, whilst being apparently fairly
documentary, are nonetheless pretty dramatic,
with the chalky headland looming majestically
in the patchy light looking huge, and the
improbable lighthouse looking almost
comically isolated at the bottom of the cliff.
Christine Kermaire’s Beachy Head blasts away
from my nerdy desk exploits and sets me down
in the channel, my camera pointed firmly at
the mass of Beachy Head. The book sets its stall
out early: a title page with a course plotted
carefully overlaid with a screen of plastic mesh
suggesting latitude and longitude. The book
Having said I liked the book very much, I don’t
think the way it’s presented works very well.
The patterned brown nylon drawstring bag it
comes in looks like a washbag and has kitschy
connotations that don’t benefit the book (even
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the Noel Coward play. It’s a good example of
this type of book: formally excellent, the dark
and tensely-read etchings build with the play
to a climactic ending. The illustrations are
powerfully rendered, enlivening the reading of
the play extracts with imagery that conveys
something of the erotic charge Salomé is
supposed to have confused and maddened her
victims/voyeurs with. Occupying a symbolic
range that frames the play’s own formal
construction in a powerful new way, the book
and its illustrations do not stray too far from
the original’s spoken imagery. For me, much of
the original work’s web of connotation is left
intact. We have a new, post-feminist context
within which to experience the play and its’
imagery, but my feeling is that this book does
not, despite its’ expressive qualities, add new
layers of interpretation to the original.
if it does keep the book nice and dry). The
acrylic painting done in some sort of thick,
pallete-knifed medium, depicts the headland as
a sort of expressive glyph but lacks the light,
subtlety and poise of the photographs inside
the book. It has no apparent relationship to the
printed matter inside the book beyond the
depiction and detracts from my experience of
the body of the book by suggesting a conflict of
intentions within the artist. The binding, whilst
enjoyably chunky, is done in brown cloth and
gives the book a sacklike appearance not in
keeping with the subject and approach inside.
The binding of the book itself involves a novel
use of nylon line and a section of rubber
tubing, which, although redolent, perhaps, of
the materials and intrepid solidity of sailing
gear, does not belong in this book. The book
inside this cover is a nicely poised piece that
pits control and and wonder against one
another in a setting that allows the proposed
oppositions plenty of imaginative scope. I think
the cover and binding for this piece is a very
infortunate defect in an otherwise admirable
book.
Whether or not this is a thing to be desired is a
matter of personal choice: I would have liked to
have seen the artist introduce some more
obvious themes of her own, to build a new
arrangement to accompany the original figures.
As it is, the themes of the original are
performed exquisitely, and with some finely
impassioned virtuosity. There are movements
away from depiction, conflations of parts of the
play’s symbology that pick up some of the
formal undercurrents of the original in a new
and more forthright way, but the book does not
depart from the original text.
Salomé
Rebecca Cartwright
Noel Coward’s play Salomé uses colour
symbolically: the white of moonlight, madness
and death and the black of darkness, the
ineffable mysteries of silence and reserve are
accompanied by the red of blood and lust.
The tensions between these formal devices are
played out within the tale of the magnetic
Salomé , who maddens those who gaze upon
her, bringing them misfortune and death.
Viewed as a livre d’artiste, in a more illustrative
role, however, the work is very successful.
Elaborately realized, it characterizes the moral
darkness and fatalistic impulses of the play in a
darkly woven tide of marks and figuration that
sweeps through the printer’s paces.
The expressive and technically impressive
combinations of intaglio techniques have
produced a work where one feels the
ponderous dread of fatalism, dragged onwards
by lust, itself as evanescent and unpredictable
as flame. The blackness of ink seems as heavy as
real darkness, real dread.
The play examines the mysteries of desire and
fate in a fatalistic melée that ends badly for all
concerned, dragged downwards, freighted with
their human burdens of lust, iniquity and
pride.
Rebecca Cartwright’s book of the same name is
a book of illustrations drawn from extracts of
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routinely covered in chip papers tossed away by
our homegrown urchins. Both these bits of
statuary, and Veroni’s autochthonic sky-geezers
look out across their environments with the
mixture of insecurity and hope we get from any
sense of history. There’s a lingering
communication implied in these glances
though: a communication between generations
and continents that asks in which direction the
communication is going. Are the discouraged
sons finding their courage again? When they
return, where will they return to? Are these
personages on the skyline above our cities
ready for us to use, or are we, like the one
holding the sickle, simply not able to control
the dominating and rapacious power of these
heroes? The sickle man is bent-backed, unsure,
so the sickle twists around, becomes a question
mark instead. Who knows what the real
character of this power is? This figure is
Absurdity: he’s maybe taking the piss out of us
mortals for having a go at controlling our lives.
On other pages the figures biff each other with
hammers, are poised, ready to smash up the
forest of communications around them like
Gods disgusted to find that their worshippers,
becoming bored, have turned to other things to
fill their world.
The physical production of the book is good
and benefits the work as a whole: a smooth
bookcloth in a sharky-grey gives way to welldeployed luxury materials within, couching the
the fine printmaking in fine papers. Black,
white and red echo the symbolic colours of the
text, and translucent ruby-plastic text pages
veiled the images in a suggestive, half-seen
suspense. I found the book production hightly
professional and enjoyable to handle.
Buenos Aires
Ral Veroni
Ral Veroni’s Buenos Aires is a book in the form
of a series of related cards, accompanied by a
colophon and notes. It features the figures I’ve
seen before in prints by Veroni: glyphic
personages impinging on the skyline like
Japanese monsters, by way of Mexican hero wrestlers, accoutred strangely, with their
godlike accessories. Hammers, sickles,
improbable decorations and masks. Staring
skywards and raking the horizon with their
electrical-impenetrable gaze like socialist
sculpture produced directly from the
unconscious of the workers. Ral is from
Argentina but lives in Glasgow now. One figure,
a representation of the She-Wolf suckling
Romulus and Remus, is described by Veroni in
his notes:
“The wolf was the symbol of Rome. In a city like
Buenos Aires it also marks the presence of the
massive Italian immigration... The Wolf Departs is
an attempt to symbolise in an image the return
of the discouraged sons of the immigrants to
the land of their forefathers.”
In other pages the figures - I’m starting to think
of them as a family of Gods, irascible, powerful
and unpredictable - are looming over bleak
skylines of clocks without hands. In another, a
red skull, eyes obscured by a bone and looking
like something out of the Codex Borgia
(a collection of Mexican (Aztec) writings)
hovers threateningly in a district of faceless,
hermetically dull buildings. Ready to smash the
puny mortals. Well, history does that - we’ve no
need of Gods to do the same: rather these are
the parts of human character that’d like to
It made me think also of the Scottish/Italian
sculptor Edouardo Paolozzi, whose work
showing massive, fragmentary feet and hands
recall the broken statues one finds in Rome.
They pop up in conurbations across Scotland
(and elsewhere), where they’re well liked, and
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compromise their agency. It seems to be, as
well, that they have something in common
with us - they, like us, can’t be sure of the
consequences of their actions. But they need to
act or be subsumed into nothingness. In fact,
that’s what they are themselves: their power is
ours. If we speak and act according to
something we’d ascribe to a principle or a
higher cause, we’re engendering these Gods
and all their shaky leverage.
smash all this stuff up. In another page still,
Destiny (for it is he) is masturbating genteely
from a roof-top onto the houses, spilling the
seeds of consequence into the lives of the
humans going about their business in the
rooms and streets below. Behind, on the skyline, huge signs rise above the city, survivors
from abroad who’ve weathered the local
storms. They’re now cruising all over the
surface of the city like hubristic Titanics
broadcasting their confidence and overbearing
success to the discouraged people. Destiny’s
sowing some seeds in this field.
Here’s a place with a history of its own, with its
own character and history, its own problems
and destinies. Here’s a corner, where a café
honoured the name of a poet. Then it’s gone.
Then it returns again - perhaps not the same,
but there at least, so there’s something to work
with. The same old characters cruise the
skylines, ready to beat the culture into the
shape of their choosing for good or ill.
The Hammer is right here, waiting for the new
material. He’s patient, at least, but a bit
unpredictable. Smashing up the old building
has, though no one expected it, made it
possible to bring back something of the good
that was there before which had been lost.
Time’s here too, using his pair of Mjolnir-like
hammers to bash everything around, but he’s
also using them to semaphore out to the
horizon, perched atop a communications tower.
Or he might just be threatening: his big
hammers are aloft in the air. Where will they
come down? If he is signalling, who’s he
signalling to? Another God? Destiny perhaps?
Veroni’s already shown us that those two have
an argument to sort out: it’s them who we see
on another page, going at each other with their
weapons. Destiny has just smacked Time in the
head and seems to have won a temporary
ascendancy. What will it mean for us all? Veroni
says of these divinities
Veroni wraps things up with a little oldfashioned hope. He began the series with an
image of the Argentine flag: two bands of pale
sky-blue with a band of cloud-white between.
Where the sun should be, in the centre of this
picture of the sky, he’s placed the image of
Absurdity, wielding his discouraging question
mark to scythe down our hopes. But by the end
of the book he’s replaced the blue colour with
the sky itself, the white colour with the clouds.
In the centre, two figures shake hands:
friendship. The next page: a windowless white
beaten-up building stands against the sky.
Phonelines run across it, connecting it to
heaven and earth. It looks like it will stand as
long as it has to, but it looks tired.
“When in kindness they try to make good,
things get worse. When enraged they are
merciless with us; then, sometimes, things get
better.”
On the last page, the Hammer is waiting to
fashion a new world from the destruction of the
old. It’ll be a bit of a shock. It’s always been
that way. The Gods know, because they were
here first.
It seems to be in the nature of these beings that
they can’t act with subtlety, that they get too
snarled up in humanity if they slow down and
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alongside traditional ones in a manner
calculated for ease of use and meaningful
transference of skill and inspiration across
media. It includes core digital skills like
scanning and DTP alonside canonical craft
skills in printing and binding in a way I’ve only
previously been able to see in my head or in my
own experiences as an artist who combines
many of the skills shown.
A Fishy Wish
Hannah Grice
Hannah Grice’s A Fishy Wish sets a series of
colourful prints alongside letterpress verses
about catching a fish. Tissue paper overlays the
images, in many cases depicting the outlines of
the images underneath, perhaps suggesting the
world of difference between the reflected
surface of the water and the fluid world below.
A Fishy Wish uses a variety of papers, and
utilises a Japanese-style stab binding. Hopefully
the artist’s success with this small book will
encourage her to develop a more in-depth
project and, er, catch some bigger fish.
My first few days with the book were spent
exploring the familiar technical territories I’d
previously surveyed for myself through a
combination of instruction and trial-and-error.
What held my fascination was the way in which
I could consult a chapter on constructing hard
covers, and flip a few pages over to find out
about the various tools of Quark Xpress™.
In fact, when I read in the acknowledgements
of the author’s admiration for the works of
Edward Tufte, I felt as if someone had sneaked
a look at my bookshelf and assembled some
sort of hybrid book from the evidence of my
own interests. (Tufte’s Envisaging Information is
the best book on organising information I’ve
yet seen, and is a wonderful design experience
as a book to boot.) The point is that works on
both the construction of books, and the
technical how-to of Quark™ and Photoshop™,
share space on the same shelf in my house:
seeing them together here was sort of
life-affirming for me.
Digital Book Design
Douglas Holleley (ISBN 0 9707138 0 0)
Joan Lyons, in her preface to Douglas
Holleley’s Digital Book Design and Publishing tells
us that the book which follows places digitally
produced books in an historical continuum.
Certainly digital forms of working are at the
forefront of technical development in our time,
and the prospect of placing some of digital
artworks’ protean identity in historical
perspective is welcome.
Detail from page 57 of
Digital Book Design and
Publishing showing
examples of “found
typography”, these
images, made in
Mexico are taken
from Holleley’s artist’s
More immediate, though, at least for me, was
the way Holleley has locked on to technical
issues that place digital book design in a
technical continuum. Much of the life of
debate around artists’ books arises from
matters of technique and production. For many
artists, artists books’ appeal lies in the way they
remain undefined in any one easy description
and can take on the mantle, and the cultural
frisson of many different guises. So perhaps
questions of technique, and how technique is
presented in (or as) the finished artwork, are
the contentious issues that give shape to the
historical continuum of book-making. The
scope of Holleley’s book positions digital book
design squarely as a legitimate part of artists
books’ practice, describing digital techniques
book Past and Future
Tense, 1998
The fact that Holleley has chosen to include
quite detailed technical information that deals
with such digital matters as scanning, page
layout and so on, alongside chapters on paper
and binding makes a bold statement - one I’ve
already touched on above; digital book design
is part of this group of techniques. If the artist
takes a little care, their artwork can be part of
the permanent legacy that traditional
techniques are at the heart of.
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the others. The most technical pages still have
pages showing real artists’ books; it’s somehow
comforting to know that pages detailing glues
and awls and thread are never far away (or,
conversely, if your home team is electrical and
encased in beige plastic, there’s a cosy chapter
for you too.)
Whilst it’s true that computer programmes
(even the unsinkable Photoshop™ and Quark
XPress™) may not be around as long the
average Columbian press, other computer
programmes fulfilling the same functions will
be around for as long as there are computers to
run them. Inevitably, as time goes on, some of
the technical information contained in this
book will lose its relevance (it gives good advice
on the current technologies). But the book’s
strength lies in its defence to this pitfall.
Wherever possible, Holleley relates the
principles of the computer applications to their
actual purpose (which, in this specialised book,
we have the luxury of knowing - ie, to design
books) The effect of this is to make more sense
of why you’d want to use the programme in the
first place. (Answer: because of the things
computers make easier, and because there
are ways to use them alongside all the other
techniques you like.)
When I say that the book brings together things
from books I already own, I think I will be
describing its appeal to many of its readers.
As a practical guide to new bookbinders it’s a
thoroughly usable guide and sourcebook of
ideas that covers its subject well and introduces
important concepts that would serve to
inculcate the unity of production media in new
book makers. It would be entirely possible to
learn from this book and go on to make many,
many books: both form - the main construction
techniques are well covered, and content too,
is covered; the very many illustrations of artists’
books are a continuing delight.
As far as the technical advice offered is
concerned, the book keeps its brief in mind,
and moves through the programmes in a very
biased way. This is a good thing. I’ve spent a
long time coaxing the techniques I wanted to
use out of the existing manuals and courses on
various computer programmes, and I’ve often
wished for something less generalised. (On the
other hand, computers always keep something
in reserve to spanner you with the moment you
think you’re on top of things. If you’re new to
computers, I’d get general guides too, or a
more experienced friend to help with the more
rarefied digital problems you might encounter.)
But a generalised guide couldn’t give the depth
of context this book offers; that’s the main
trade-off. I wouldn’t expect, for instance, to be
told (in a chapter about Quark™) that I should
get my images to size before I got them into
Quark™ in the first place. Neither would I, in
my usual, generalised manual, expect to be told
to simply ignore bits of the programme that are
largely of "academic interest" to someone using
it for book design. The usual guide books
howitzer one with information and leave one
sorting through the wreckage afterwards,
casting about for clues.
If you don’t know about the technical aspects
of artist’s book production, I’d recommend this
book to get a great overview on how it all
works. If you do, I’d recommend it simply to
see so much useful stuff in one place at the
same time. It had to happen.
Andrew Eason is a book artist and writer living in
Bristol. He has produced artists’ books for over
ten years and has work in diverse public and
private collections from Tate Britain in London
to the Joan Flasch Collection at the Art
Institute of Chicago. A recent retrospective
show at the University of the West of England,
entitled Interpreter showcased the ongoing
literary and investigative concerns prevalent in
his work. “I use artists’ books to put stuff in.
They have a privileged narrative condition
that allows me to approach subjects in a selfcontained manner that I couldn’t work with in
any other way. With books, I can set up an
environment where I can intervene on a
subject under conditions prescribed and
controlled by me.” Andrew Eason’s books can
be seen at www.andreweason.com
The most compelling point in the book’s
trade-off between technical information and
context is the continuity each chapter has with
164
Steve McPherson (page 140) Taking a couple of years
to complete each volume, I see my Diary/journal
making as a way of mapping and organising, visually
and conceptually. Where found objects, images,
motifs, symbols and text repeat themselves - forming
streams of conscious and unconscious thought, idea
and meaning amongst layers of everyday debris and
detritus. Each double page is treated as potential
space for endless possibilities. On completion, there
lie in the bloated pages, created and re-created invented and re-invented - lost and shared - archived
- collected and collated histories of individuals and
others, known and unknown. Forming in the viewer
distant memories of undiscovered places.
(fgp7297@hotmail.com)
Artist’s page contributors
For each issue of the Artist’s Book Yearbook we invite a
selection of artists to contribute a page (or more) of
artwork, which is interspersed throughout the
publication. Some of the featured artists have also
listed their books and contact details in the Artists’
Books Produced section on the following pages.
This year’s contributors are:
Kate Farley (page 89) Printing, folding, a title, late
nights and a fascination with the seeing, feeling,
responding, and recording process from an
experience. I make small editions of books and
prints inspired by both physical and emotional
journeys. As a tutor at Central Saint Martins, and
schools and colleges further afield. I also enjoy
teaching the possibilities of book art to a broad
range of student groups. (kate.farley1@virgin.net)
Kristen Merola (page 152) has recently finished her
two years postgraduate study for the Master of Fine
Arts at the Visual Studies Workshop, Rochester NY,
where she specialised in photography. She is currently doing an internship at Lake Affect Magazine, a
regional arts magazine in New York State, USA.
(kmerola@rochester.rr.com)
Alec Finlay (pages 81, 127, 215) is an artist and
publisher who has been working as artist-in-residence
at BALTIC: The Centre for Contemporary Art since
July 2001, producing a series of twelve books co
published by BALTIC and Morning Star. Some of the
forthcoming publications will be based upon the
participative projects that Alec is running: Bynames
(Hamish Fulton / Hermit Futon), Wind Blown Cloud,
and The Book of Questions. Details of how to take part
in any of these projects are available at:
www.balticmill.com. (alecf@balticmill.com)
Otto (page 15)I am interested in narratives that are
expressed visually rather than verbally. Usually I use
the book as the medium, as it is the obvious way of
presenting a continuous series of images. Often the
book breaks out of its function of being merely a
carrier of a message and becomes part of the
message. The illustration shown is the first of a
planned series of illustrations for scenes in Ovid's
Metamorphosis, a subject popular with painter illustrators of the Renaissance.
(otto@ottoillustration.com)
Paul Laidler (page 132) During my time of being
alive I have enjoyed breathing oxygen, this has
allowed me to make art. Also my brain telling my
hands and eyes what to do has been a real bonus in
this area. Working in print has really brought me out
of my shell. I now like saying “photo spectrometer”
to people whenever possible and always encourage
using gradient blends on a stochastic mesh. This
sense of belonging is second to none, and has
awoken me to the fact that it is not blood that
flow’th through my veins, for it be but ink.
(Paul.Laidler@uwe.ac.uk)
Lucy May Schofield (page 38) Romance can be found
in the quietest and most insignificant of places, a shy
look, an innocent touch of the knee, a secret smile.
There’s not much time for love anymore, so in an
attempt to capture a bit of true romance, I make
secret love note books. Designed to be popped into
the pockets of those whom you find it difficult to tell
you love, fancy, lust after or need forgiveness from.
They are a shy girl’s guide to expressing herself and
a modern boy’s guide to romancing the old
fashioned way. For those who want pure fun, ‘teaser
books’ are designed to help entice or just break the
ice. (lucymayschofield@hotmail.com)
Andrew Lanyon (page 165) The hollow books evolved
because one of the characters in one of my books
had an accident in a laboratory and cloned himself,
not as a scientist, but as an artist. Within a fortnight
there were 900 clones. To Walter’s horror, not only
were these all artists, but each inaugurated a new art
movement! To give the whole idea credibility I had
to appear to invent at least one new art form –
the result was the hollow books, and 10 years later
I’m still making them… in fact they have led on into
new areas in which writers quarry language.
(see listings section for contact details)
Genevieve Waller (facing page 1) is a postgraduate
student at Ohio University in Athens, Ohio, on the
Masters of Fine Arts in Photography programme.
She has recently completed a Bachelor of Arts in
Art History, and one year of postgraduate study at
the Visual Studies Workshop, Rochester, New York.
Genevieve has also interned at Afterimage for the past
8 months, and has been an intern at the George
Eastman House for 3 months.
(anneholyoke@hotmail.com)
166
Listings of Artists’ Books Published between 2002 and 2005
Adams, Becky
Castle View
Cardiff Road
Creigiau
Cardiff
Wales
CF15 9NL
Tel: 02920 890017
beckymoth@hotmail.com
Because My Blood Can Sing and Dance
Sweetsleeps
Louise Altman
A book of heartbeats and pulse rates, french
folded, japanese bound in white and red.
10.5 x 13 cms
January 2003, UK
Edition of 20, £20 each
Analecta
Analecta
Analecta refers to the collected ephemera that
creates the book and the fragmentary nature in
which the images appear, a personal reponse to
the notion of the Object of Desire. Mixed media
on paper with rose petals, fabric and stitching.
8.3 x 8.3 cms (boxed)
2002, UK
Edition of 40, £55 each
Ambeck, Mette-Sofie D.
MSD Ambeck
Hovsørvej 19
DK-7700
Thisted
Denmark
www.ambeck.mdd.dk
msambeck@hotmail.com
Altman, Louise
Lou Lou Loves Books / The Cat’s Me-ow Press
1 Malting Villas Road
Rochford
Essex
SS4 1AE
Tel: 01702 545651
louisealtman@hotmail.com
Summer Holiday
Louise Altman
The artist and the disco girl went to sea in a
beautiful sea green box.
15.5 x 2.5 cms
April 2003, UK
Edition of 50, £20 each
Boy Met Girl - MSDA 2003
Mette-Sophie D. Ambeck
Congratulations it’s a book! A colourful sequel
to MSDA 0300/M+F - Boy Meets Girl 2000.
Come and see the babies.
8 x 12.5 cms
2003, Denmark
Edition of 40, £35 each
Because My Blood Can Sing and Dance
Louise Altman
Origami flower folded book.
4 x 4 cms
February 2002, UK
Unlimited edition, £3.50 each
167
20 x 14 cms
ISBN 1 904309 00 3
2001 Artgoes, UK
£8.99 each
The Jante Law
Mette-Sophie D. Ambeck
A refugee crosses the tracks (Aksel Sandmose,
1933) outlines ten commandments said to
reveal how Danish identity is dogged by
inferiority and inadequacy. This book
investigates and reassembles these
commandments in both physical construction
and applied design. 31 x 31 cms
2003, Denmark
Edition of 10, £300 each
Punch and Beauty
Mette-Sophie D. Ambeck
The neglected beauty of the punched hole.
A portfolio containing 234 randomly punched
pieces of information, six of which are enlarged
by 2000 percent and then cut out.
Each copy is unique.
15 x 15 cms
2002, Denmark
Edition of 42, £25 each
Readymade 5 Pack O’ Unreadymade™ Flatpacks
Chloe Daykin & Chris Morton
The development of “we make ’em so you don’t
have to” readymades – the “you make ’em so we
don’t have to “unreadymade™ flatpacks” – 5
pack for the IDEA Bag; critical art viewers; art
compass; foldyopenychooseything & the haiku
box set….
25 x 40 cms
ISBN 1 904309 01 1
2001 Artgoes, UK
£15.99 a pack
Artgoes
The Major ’art Surgery
Baddox
NE46 2PX
Tel: 01434 60 80 70
www.artgoes.com
sales@artgoes.com
(S)Pin The Tale On The Donkey (Hotey) Chapmap™
Chloe Daykin & Chris Morton
Text: thanks to Cervantes..!
The Survey Ord ance Pathfinder series chapmap™
that unfolds to reveal a don’t-get-bored game
that includes a cut-out-spin-the-tail tale (that
compliments the Donkey Hotey & Shado Panza
part the first & part the second chapbooks)
15 x 12 cms, A3 sheet folded (inc. slipcase).
ISBN: 1 904309 06 2
2001 Artgoes, UK
£4.99
Introducing Artgoes For Beginners
Artist: c-more-tone
Author: Chris Morton
The 3-in-1 Artist’s Book that’s more than just an
Artgoes primer – it’s a …
• reflexive critical reader/study guide;
• a special edition B&W Artgoes superstore
catalogue; &
• an intriguing ‘reasearchypothesis’ –
“Is language a virus masquerading as our soul..?”
168
Ashby, Lyn
Bashplate Books
New South Wales, Australia
lyn_ashby@hotmail.com
Barton, David
45 Wellmeadow Road
Hither Green
London
SE13 6SY
Tel: 020 8244 4238
The Sweetest Six Kilometres
Lyn Ashby
The intertwining of three journeys, three
stories in text, photographs and symbols.
16.5 x 15 cms
2003, Sydney, Australia
£20 each
Visible and Invisible
David Barton
Searching for the precise, subtle, volatile
structure which supports, contains and projects
the invisible presence of the body, 65 full page
line drawings and texts.
21 x 14.7 cms
February 2003, London
ISBN 1 902639 65 0
£6 each
Atkinson, Andrew
24 Mayflower Avenue
Pentwortham
Preston
PR1 0LJ
Tel: 07717 376094
www.andrewatkinson.net
mail@andrewatkinson.net
Holding a Breath
David Barton
Drawing a breath, holding a breath, feeling a
growing inside. Beginning with nothing,
becoming nothing, holding nothing within
nothing. 37 full page line drawings and texts.
21 x 14.7 cms
June 2003, London
ISBN 1 902639 64 2
£4.50 each
Held
David Barton
I am the flaw, the flinch, the shudder, the split
in the emptiness in which I am held.
12 full page line drawings and text.
21 x 14.7 cms
July 2003, London
ISBN 1 902639 66 9
£3 each
Street Life in London Redeemed
Artist: Andrew Atkinson
Author: Jaldaboath
A reworking of ‘Street Life in London’, a 19th
Century photographic social documentary of
the living conditions of the capital’s poor, as
seen through eyes of the Jaldaboath, a
character from gnostic myth. The book is
published as part of the mid-C20th findings
of the C4th Egyptian Nag Hammadi Library.
20 x 15 cms
2003, Center for Book Arts, New York, USA
£75 each
Baake, Frans
Schumannlaan 22
7522 KE
Enschede
The Netherlands
Tel/fax: 0031 53 4777 802
www.fransbaake.nl
info@fransbaake.nl
Ilhas
Frans Baake
A step by step guide through the Azores (Ilhas
170
is Portuguese for islands). An oblong book
containing eight characteristic photographs. In
the first part of the book, each picture has been
divided into two parts, containing half of the
information. In the second half of the book,
the photos are shown in their original size,
being complete. Relief printed texts have been
used to support the images.
10.5 x 29.5 cms
2002 Enschede, The Netherlands
Edition of 75, £38 each
15 x 10 cms (boxed)
2000 onwards, Enschede, The Netherlands
Edition of 50, £50 each
Meer
Frans Baake
On the island of Flores, Azores, the artist
photographed all seven crater lakes with an
unpredictable Lomo-graphic camera, in order
to get four images on one picture. Presented as
a leaflet in a plastic box. The title refers to the
two meanings of a Dutch word: Meer, which
means ‘lake’ as well as ‘more’.
8.5 x 2.3 cms
2002 Enschede, The Netherlands
Edition of 250, £6 each
Begbie, Guy
15 Kingsley Road
Cotham
Bristol
BS6 6AF
Tel 0117 924 7190
guy@begbiebook.freeserve.co.uk
Les IlÔts de L’ eau
Frans Baake
A cloth bound leperello containing four
photographed lakes as seen in the Netherlands,
Germany and the island of Miquelon. The title
is French for ‘small islands out of water’ as the
artist considers them.
5.3 x 8.1 cms
2003 Enschede, The Netherlands
Edition of 50, £12 each
New York Dolls: Flipbook series
Guy Begbie
New York Dolls is produced in a series, from
original video footage shot by the artist in
order to produce a bound document. These
flip books are about people watching in an
unfamiliar city. They provoke pertinent
questions concerning issues of anonymity,
surveillance, voyeurism and the fleeting
moment. Repetition in the editing of single
frames has produced choreographed
momentary movement which has been
translated into a cinematic flip book structure.
6 x 10 cms
2003 Bristol
Open edition, contact artist for price.
Bastiaans, Rudi
AKI
Hallenweg 5
7500 BK
Enschede
The Netherlands
Tel: 0031 53 482 4404
R.Bastiaans@aki.nl
Held & Contained
Guy Begbie
Held & Contained is one of a series of paper
engineered books that challenge and redefine
shifting parameters of the book form, through
interpretations alluding to landscape.
Conceptually these works investigate ways in
which the book structure may hold and contain
the experience of buildings and the landscape.
Me, Myself and I
Rudi Bastiaans
An ongoing book project which is added to
annually as the artist changes each year. The
images are hand printed in negative on metal
pages, giving the effect of an x-ray. Boxed as a
set of loose leaf pages
171
The story of an orange, from peeling to
nothingness. Hardback, bound and made
entirely with brown paper and rubber stamped
text and image.
8 x 5 cms
September 2002, London
Edition of 60, £10 each
Liver and Lights No. 30: Thirty People
John Bently
The 30th Liver and Lights publication contains
30 portraits created from collected secondperson descriptions of people’s lives overheard
in the course of the last year. Hardback, cloth
binding, red bolt bound.
13 x 10 cms
April 2003, London
Edition of 100, £19 each (detail below)
Held & Contained
11 x 11 cms
2003 Bristol
Edition of 60, £45 each
Demountable Camper
Guy Begbie
“If you go down to the woods today, you will
have a big surprise.” Demountable Camper
Volume one and Expanda Store, Volume two in a
slip cased boxed set, are a visual treatise on the
rural retreat.
16 x 22 cms
2003 Bristol
Open edition, £95 each
Bently, John
Liver and Lights Scriptorium
Flat 3
2 Wyneham Road
Herne Hill
London
SE24 9NT
Tel: 020 7501 9566
johnbently@hotmail.com
Liver and Lights No. 29:
A Handful of Memories, Dundee
Editor: John Bently
Artists: John Bently, Sarah Derrick,
Graham Esson, Mark McKay, Irene Shearer,
Lynn Cunningham
A collection of souvenirs and mementos from
the lives of five Dundee residents - somehow
constituting a portrait of a community through
a handful of memories.
21 x 15 cms
March 2002, London
ISBN 0 9533961 5 0
£5.99 each
Liver and Lights No. 31: Orange
John Bently
172
Bicknell, Les
Eva’s Place
Sibton Green
Saxmundham
Suffolk
IP17 2JX
lesb@tinyonline.co.uk
Idea
Artist: Les Bicknell
Author: Robin Brooks
An audio tour of an idea. A collaborative
project that questions the creative act and its
relationship to object making; along with truth,
imagination and the role of the artist and the
de-objectification of art.
6 x 10 cms
May 2003, Published by Sibton Green, UK
£100 each
The Marsh Test
Sarah Bodman
Marie Lafarge was found guilty of poisoning
her husband Henri, in Paris, in 1840. Her trial
was the first publicly documented use of James
Marsh’s highly sensitive test for the detection of
arsenic in natural compounds. This book is
based on the court case, presented as a folio,
bound in blue buckram as a series of letters
and an etching, discovered by a pathologist.
16 x 19 cms
November 2002 Visual Studies Workshop,
Rochester, New York, USA
Edition of 25, £100 each
Bodman, Sarah
2 Handel Avenue
St George
Bristol
BS5 8DS
Tel: 0117 32 84747
www.uwe.ac.uk/amd/cfpr
Sarah.Bodman@uwe.ac.uk
Pace Bend
Sarah Bodman
A book based on climbing routes through Pace
Bend Park, Texas, USA. The climb is detailed
with instructions, heights and ability guides but
soon develops into an ambiguous and uneasy
situation. Bound with a simple fold card cover,
with screenprinted title. The format of the
book unfolds as a map with an individually
numbered map pin.
12 x 16 cms
2002 Bristol, UK
Edition of 30, £35 each
Time Itself
Sarah Bodman
Made as the result of a residency at the Jenner
Museum, Berkeley, Gloucester, in July 2002.
The museum is the former home of Edward
Jenner who discovered the cure for smallpox.
The book is based on aspects of Jenner’s work
and the isolation hospitals used to house past
victims of the highly contagious disease.
Hardbound in red buckram with silver foil title.
16 x 15 cms
2002 Bristol, UK
Edition of 10, £95 each
173
Over the course of three years, a 1969 New
York City high school yearbook was torn by
hand and reconstructed into a vintage stamp
album. This 28 page deconstruction poignantly
evokes the idealism of the 1960’s.
20 x 14 cms
2003 Brooklyn, New York
Edition of 25, £500 each
Booklyn
37 Greenpoint Avenue, 4th Floor
Brooklyn NY11222
New York
USA
Tel: 001 718 383 9621
www.booklyn.org
mweber@booklyn.org
12/11
Artist: Marshall Weber
Author: Katherine Bates
Design, printing and binding: Mark Wagner
Three months after 9/11 the artist spent one
day in New York City photographing the
plethora of decaying American flags. The
Japanese stab bound photographs have the
lyrics from America the Beautiful letterpressed on
their verso.
12.7 x 17.8 cms
2002 Brooklyn, New York
Edition of 13, £300 each
Eleven
Artists: Marshall Weber, Isabelle Weber
Authors: Marshall Weber, Ellis Avery, Euripides,
Judith Foster, M T Karthik, Jane LeCroy and
Peter Spagnuolo
Photographs of New York City in the weeks
after 9/11 with texts by six local witnessing
writers. Alternating vertical and horizontal
page-spreads evoke the disorientation of the
city. Hand bound, 72 pages with an audio CD
of the authors reciting their texts. Book
designed by Marshall Weber, Christopher Wilde
and Sara Parkel; page design by Marshall Weber
and Alison E. Williams; text designed by Alison
E. Williams and binding by Sara Parkel.
23 x 15 cms
09/11/2002 Brooklyn, New York, USA
Edition of 29, £1,500 each
Book Works
19 Holywell Row
London
EC2A 4JB
Tel: 020 7247 2203
www.bookworks.org.uk
mail@bookworks.org.uk
Romanov
Adam Chodzko
June 1995, a young woman’s car is illegally
parked in Soho. Inside the car, police find
ammunition and weapons; when arrested she
refuses to speak. In this book, Chodzko
attempts to reclaim the woman’s identity and
her voice.
21 x 14.8 cms
October 2002 Book Works, London
ISBN 1 870699 51 3
£9.95 each
Trying to Get In Between
Maria Lindberg
Maria Lindberg is an influential Swedish artist,
this new book presents an overview of her
career and has been constructed so that no
hierarchical or sequential relationship dictates
the reading.
22.5 x 19 cms
Souvenir
Artist: Marshall Weber
Layout and printing: Amy Mees
Design and binding: Mark Wagner
174
Natural Wonderland. Turtle Soup comprises of a
concertina paper, a poster of illustrations and a
3-inch CD of precious audio matter.
22 x 11 cms
2003 Brighton
ISSN 1477 8629
£6 each
December 2002 Book Works, London
ISBN 1 870699 64 5
£20 each
Emitron
Lee Sherman
An occasional Micropaper for the 21st Century
detailing the mixed particulars of Emitron’s past,
present and future. It comprises of a single
sheet of A4 drafting paper folded into 24 pages
52 x 49 mm. Each copy is cropped, folded and
stamped by hand.
5.2 x 4.9 cms
2003 Borbonesa, Brighton
£2.50 each
Magazine
Mike Nelson
Mike Nelson is well known for his labyrinthine
installations. He has chosen the title ‘Magazine’
to suggest the book as a storeroom where
previous works can be encountered and
recreated anew.
24.2 x 17.1 cms
March 2003 Book Works, London
ISBN 1 870699 62 9
£15 each
Bristol Art Library
10 Maycliffe Park
Ashley Down
Bristol
BS6 5JH
Tel: 0117 904 7609
headlibrarian@thebristolartlibrary.co.uk
Borbonesa
PO Box 3429
Brighton
BN1 5UR
www.borbonesa.co.uk
mail@borbonesa.co.uk
My Place
Annabel Other / The Head Librarian
A 7-inch picture disc featuring the Head
Librarian of the Bristol Art Library singing a
specially commissioned song written by
Jesse Morningstar and a B side remix by
David Hopkinson.
7 cms across
July 2003 Disco-ordination Records, Bristol
£25 each
Buenz, Isabell
5 Cleuch Road
North Middleton
Midlothian
EH23 4RB
Tel: 07751 649161
www.papermagic.co.uk
isabuenz@hotmail.com
Turtle Soup
Borbonesa
A publication unlike much else concerning
A Chocolate Journey
Isabell Buenz / Papermagic
A one-off bookwork of a box containing
175
offset printed. Published by Flock, Gaggle,
Herd and Mercer Union.
15 x 15 cms
2003 Toronto /Montreal
ISBN 0 921427 62 4
Regular edition of 950 copies £20 each
Special edition of 50 copies which also include
trading cards and stickers £30 each
How to Help Animals Escape from Degraded Habitats
Bill Burns
A guide to the rescue, relocation and
rehabilitation of animals living in degraded
habitats. French and English text, printed as
two-colour offset. Published by Flock, Gaggle,
Herd and Optica.
12 x 16 cms
1997 Montreal
ISBN 2 9800981 9 1
£15 each
recreated chocolates and a book made in the
format of a photo album. This leads the reader
through a visual and tactile ‘journey’ revealing
the personal chocolate eating habits of the
artist’s girlfriends. A Book Project Exhibition
publication.
22 x 19 cms
2003, UK
NFS
Burns, Bill
7 Silver Avenue
Toronto
M6R 1X9
Canada
www.safetygearmuseum.com
bburns@canada.com
Footprints of Animals Wearing Safety Gear
Bill Burns
An exquisite blueprint in a book cover, showing
the effects of safety gear on animal tracks. Part
of a series including Songs of Birds Wearing Safety
Gear (Plugin 1999) and Safety Gear for Small
Animals (303 Gallery, New York 1994).
18 x 15 cms
2000 William English Editions, London
£10 each
Burwitz, Neils
Libra Press
Calle Rosa 22
Valldemossa
Mallorca E-07170
Spain
Tel: 0034 9716 12838
Fax:0034 9716 12839
burwitz@arrakis.es
Urban Fauna Information Station
Artists: Bill Burns, Trevor Gould, Mark Vatnsdal
(Flock, Gaggle, Herd)
The story of the Urban Fauna Information
Station’s journey from Toronto to Montreal in
the summer of 2002. 64 pages, four-colour
176
El Miró Invisible
Nils Burwitz and 20 contributors.
This boxed, bibliophile set of The Invisible Miró
is an homage to Burwitz’s spiritual mentor Joan
Miró. After his death in 1983, Burwitz
discovered an as yet unpublished graffito of
Joan Miró. It was a charcoal drawing on the
plaster wall of his studio, “Son Boter” with the
words ‘The artist with his true palette’ written
next to it. This inspired Burwitz to interview
some of the friends and contemporaies of
Miró and the result is this bibliophile edition of
20 personal texts, prose and poetry along with
20 graphic prints by Nils Burwitz.
29 x 18 cms
2002 Fathom Five Books, London
Edition of 12, £160 each
British Butterflies
Tracey Bush
British Butterflies is a stamp album, containing
cut-out butterflies from maps of Britain
(general collection) or recycled envelopes
(browns and blues). Bound in green, navy or
dark red cloth, with striped ribbon ties, blocked
in gold. 15.5 x 12 cms
2003 Fathom Five Books, London
Numbered open edition, £45 each
44.5 x 32.5 cms
Libra Press Valldemossa,
Mallorca
ISBN 84 605 9933 7
Edition of 100, £2700 each
Cartwright, Rebecca
45 Honor Oak Rise
London
SE23 3RA
Tel: 07773 287 192
rfcartwright@hotmail.com
Bush, Tracey
Fathom Five Books
The Gallery Workspace
Pennybank Chambers
33-35 St John’s Square
Clerkenwell
London
EC1M 4DS
Tel: 07941 958 402
www.cga.org.uk/traceybush
fathom5books@hotmail.com
Salomé
Rebecca Cartwright
Text by Oscar Wilde
Salomé is a hand bound artist’s book including
twenty four etchings illustrating the text by
Oscar Wilde. Extracts from the original play, in
French are screenprinted opposite each image.
22.5 x 38 cms
Edition of 10, £360 each
River Stairs
Tracey Bush
River Stairs is a photographic exploration of the
Thames through Docklands. Eight densely
inked indigo flexo prints on Korean paper
describe these liminal places. Accompanied by
letterpress text, written by the artist. Bound in
indigo bookcloth, blocked in silver.
177
Seven typewriter ‘text-iles’ digitally enhanced
poems, significantly interleaved with varying
densities of tracing paper: veils we must pass
through in quest of the muse. A book of 20
transparent pockets.
31 x 24 cms
2002 ISVPA Publications, Oxford
Edition of 20, £100 each
Chamberlain, Ian
114 Grattons Drive
Poundhill
Crawley
West Sussex
RH10 3JP
Tel: 07765 662916
i-chamberlain@hotmail.com
Concrete Poetry x 6
Paula Claire
My definition of concrete poetry typed in
computer graphics, successively overprinted by
hand to form a set of six sound / visual poems,
each unique. 10 transparent pockets.
31 x 24 cms
2002 ISVPA Publications, Oxford
Edition of 20, £100 each
Odyssey
Ian Chamberlain
The book contains a series of images and text
depicting various scenes and characters from
Homer’s Odyssey. Hand printed in letterpress
with collage and mixed - media.
16 x 22 cms
2003 Bristol
Edition of 10, £100 each
Collins, Patricia
2 Litchfield Cottages
Rattlerow
Mileham
Norfolk
PE32 2PY
Behind the Scenes
Patricia Collins and Jorg Seifert
Dual language publication of photographs and
text exploring life behind the scenes of an
English country garden. The text is taken from
a 1928 jobbing gardener’s diary.
29.7 x 21 cms
2003 Germany
£25 each
Claire, Paula
International Sound and Visual Poetry Archive
11 Dale Close
Thames Street
Oxford
OX1 1TU
Tel: 01865 727529
paula.claire@talk21.com
Roosters Dictionary
Patricia Collins
An A5 book recording what cockerels say
throughout the world: ‘cocorico’ in France,
‘ko ki ko ko’ in Japan and ‘cock a doodle do’ in
England. Illustrated with hand coloured rubber
stamps and maps.
21 x 14.5 cms
2003 Norfolk
£7.50 each
Sunflowerpower
Paula Claire
A book of 20 transparent pockets with 11 pages
of poems and text in English / Portuguese.
Colour illustrations include 10 visual poems
and 6 photos. A video of a performance with
100 sunflowers at Porto 2001 International Poetry
and Performance Festival, is also included.
31 x 24 cms
2002 ISVPA Publications, Oxford
Edition of 20, £150 each
The Practical Home Archaeologist
Patricia Collins
The interface between D.I.Y. and field
archaeology explored in text and image. “ And
in the space between ceiling and floor - a line
Still Bemused
Paula Claire
180
of flints, untouched, existing only in time.”
2003 Norfolk
£7.50 each
Cowie, Heather
Beckstones
Buckfast Road
Buckfastleigh
Devon
TQ11 0EA
www.heathercowie.com
heathercowie@btconnect.com
Colverson, Ian
34 West Hill Road
London
SW18 1LN
Tel: 01274 423267
icolverson@bilk.ac.uk
Beating re-Sonance
Heather Cowie
A book focussing on percussion in terms of
original pencil markings on paper, overprinting
with digital images of instruments and text on
transparent overlays. Image and text pages
hand sewn into an accordion book, casebound
with slipcase.
21 x 19.5 cms
2003 Buckfastleigh
Edition of 10, Contact artist for price.
A Bolt Through Barnett Newman
Ian Colverson and Louise Parsons
A collaborative book comprising of a jointed
strip of paper measuring 570 x 5 inches with a
vertical 9/16 inch etched band of words, words
running down the centre - complete words and
fragmented words - derived from random
vertical cuts through the pages of Kate O’
Riordan’s 1995 novel Involved.
13 x 1,140 cms
2002 Bradford
Edition of 15, £100 each
Fingering re-Sonance
Heather Cowie
A partner book to Beating re-Sonance focussing
on piano, celesta and harp. Black and white,
24 original drawings plus inkjet overprints and
transparencies.
21 x 19.5 cms
2003 Buckfastleigh
Edition of 10, contact artist for price.
Earth Bound
Heather Cowie
Earth strata variations represented in image,
symbol and bound text. Images derived from
original oil paintings, digitally printed on
Arches satine, partially hand coloured.
Overstitching in silk, sewn sections, casebound
in cloth.
19.5 x 19.5 cms
2003 Buckfastleigh
Open numbered edition, contact artist for
price.
Cronin, Marian
The Cat’s Me-ow Press
90 Crest Road
Cricklewood
London
NW2 7SL
Tel: 0208 452 2522
marz_cronin@yahoo.com
Calm
Berina Anderson and Ian Colverson
Calm consists of 4 etchings printed on
Somerset paper in black, Japanese bound in an
edition of 10 copies.
26 x 35 cms
2003 Bradford
Edition of 10, £35 each
181
A Storm Passing Overhead
Marian Cronin
A slot - together mobile constructed from six
printed circles. The circles bear images of rain
clouds with accompanying text. Colour photocopies on card, flatpacked in 10cm2 envelope.
15 x 13 cms
2003 UK
Edition of 50, £10 each
Traces of Me
Manya Doñaque
This book was printed in silkscreen, using water
based black ink. It has a dust jacket of printed
tracing paper with an attached pair of white
gloves (also printed).
22 x 15.5 cms
2002 Bradford College, UK
Edition of 3, £100 each
Dilnot, John
24 Yardley Street
Brighton
BN1 4NU
Tel: 01273 684250
urbantree@ntlworld.com
Boundaries
John Dilnot
Contains 13 photographs of urban trees taken
at various times and places over the last 20
years. One of a series of themed books. 32
pages, wire binding.
13 x 10 cms
2002 Urban Tree, Brighton
Edition of 50, £25 each
Match Book
Manya Doñaque
This book has been made using photopolymer
print techniques. Each of the match plates were
individually printed on white Somerset papers
and folded into a concertina. The book is
housed in a cardboard (match) box.
12.5 x 7.5 cms
2002 Bradford College, UK
Edition of 6, £50 each
Trees
John Dilnot
Facsimiles of illustrations from children’s
dictionaries, 12 pages. 16 x 14 cms
2002 Urban Tree, Brighton
Edition of 500, £10 each
Twenty Six Drawings
Manya Doñaque
Letterpress printed in cream and terracotta ink.
Each page is printed with a single word, it has
to do with things I cannot draw. Printed on
thick white card.
24 x 20.5 cms
2002 Bradford College, UK
Edition of 10, £100 each
Little Museum
John Dilnot
Made with Joe Dilnot. Contains 9 photographs
of hands holding a: book, fossil, photograph,
stamp, card collection, lorry, cow, postcard,
coin. 16 pages.
10.5 x 14.8 cms
2002 Urban Tree, Brighton
Edition of 500, £10 each
Downes, Penelope
Queriendo Press
140 Cotswold Road
Bristol
BS3 4NS
Tel: 0117 963 3010
www.axisartists.org.uk/all/ref/5570.htm
penny@queriend.dialstart.net
Doñaque, Manya
7 Hollydene
17 Beacon Road
Hither Green
London
SE13 6ES
manyadoñaque@hotmail.com
182
In the Time of Crow
Artist: Penelope Downes
Author: Alyson Sarah Hallet
A small book of predictions with images of
crows leading to the text pages through a
foldout chart. Printed at Doveton Press, Bristol
in offset - litho from original etchings, hand
bound, 36 pages.
15 x 15 cms
2001 Queriendo Press, Bristol
ISBN 0 9541484 0 1
Edition of 500, £22.50 each
in a house, in a city, in Mexico. A book of six
folds made from four etchings in two colours.
Hand bound, the book can be displayed wide
open.
21.5 x 16 cms
2003 Queriendo Press, Guadalajara, Mexico
Edition of 20, £150 each
Dupré, Marie-Fred
Allende 224
La Cañada, Sanata Ana Tepetitlán
Zapopan 44230
Jalisco
Mexico
mariefred_2000@yahoo.com
Letter from Timbuktu
Artist: Penelope Downes
Ceramic Artist: Deborah Prosser
In collaboration with ceramic artist Deborah
Prosser, Timbuktu is a series of 12 individual clay
books that are exhibited on bundles of cloth or
in boxes. There are three categories; covers
with a page, closed covers and single tablets.
Anatomy of the Chimera
Marie-Fred Dupré
Anatomy of the Chimera is a wink to Leonardo da
Vinci and his beautiful anatomical drawings. It
brings 20 monsters from classical / mediaeval
mythology to life. A skeleton is a splendid
architecture of 12 vertebrae and 24 ribs that
breathe or have been breathing. If it is the
symbol of death, it is also the symbol of life.
Hardbound, with a series of etchings.
42 x 36 cms
2003 Mexico
Edition of 5, £500 each
Sizes vary from 26 x 21 cms large cover with
page format, to 10 x 18 cms in tablet format.
2002 Queriendo Press, Bristol
Prices from £75 to £250 each.
Casa
Artist: Penelope Downes
Printer: Cornelio Garcia
About a conversation with a young daughter,
183
Eagle Gallery,
159 Farringdon Road
London
EC1R 3AL
Tel: 020 7833 2674
emmahilleagle@aol.com
A Little Flora of Common Plants
Artist: Jane Joseph
Author: Mel Gooding
A contemporary botanical of English common
plants. Nine drypoint images and nine
letterpress poems.
29.x 18.5 cms
October 2002 EMH Arts, London
Edition of 12 plus 4 Artists Proofs, £950 each
Radio
Andrew Eason
Digitally - produced imagery touching on the
particle/ wave problem in describing
electromagnetic radiation. How do light and
radio waves propagate themselves across space?
How do people communicate?
12 x 15cms
2003 Bristol, UK
Open edition, £50 each
caranicino
Artist: Nicola Schrudde
Author: Mel Gooding
Artist’s book evolving from a series of abstract
paintings made about the landscape around
Olevano Romano, Italy.
23.x 28.8 cms
ISBN 0 9531793 7 0
May 2003 EMH Arts / Parerga Verlag GmbH,
London
Standard edition of 1000 at £30 each
Special edition of 20 at £200 each
Variant
Artist: Andrew Bick
Author and Artist; Gad Hollander
Description: Artist’s book of texts, notes and
images collected from 1999 – 2003, printed
offset litho.
12.3 x 16.2 cm
ISBN 0 9531793 9 7
July 2003 EMH Arts, London
Edition of 750, £12 each
Nilometer
Andrew Eason
Digitally -produced. The Nilometer is one of
the longest-serving pieces of scientific
apparatus in existence. Used to measure the
annual inundation of the Nile, it also records
humanity’s continuing attempt to codify and
control nature. Data from ancient records has
been used to support research into global
warming.
19 x 13.5cms
2003 Bristol, UK
Edition of 20, £100 each
Eason, Andrew
41 Upton Road
Southville
Bristol
BS3 1LW
Tel: 07771 533 810
www.andreweason.com
andreweason@hotmail.com
184
Pierre a Encre
Artist: Danielle Loisel
Author: François Cheng
A French - Chinese translation: Liu Nei, with
nine stone lithographs on Hahnemühle paper.
25 x 20 cms
2002 Editions Signum, Paris, France
460 Euros
Enitharmon Press
26B Caversham Road
London
NW5 2DU
Tel: 020 7482 5967
www.enitharmon.co.uk
books@enitharmon.co.uk
Firmament
Andrew Eason
Digitally - produced. The ceiling of St Mary
Redcliffe in Bristol is covered with over 1000
unique bosses. Stone ribs vaulting the space
suggest a tree pattern reminiscent of Kabbalist
imagery. However, Greek, Hebrew and
Phoenicean alphabets co-exist, constructing a
complex involution of culture and history.
26 x 111.5 cms (spread)
2003, Bristol, UK
Edition of 10, £100 each
Editions Signum
Wanda Mihulear
5 Rue des Pruniers
Paris 75020
France
Tel: 33 (0) 1 43 6670 27
editions_signum@hotmail.com
L’Epave d’une Parole
Artist: Karl-Heinz Bogner
Author: Brigitte Gyr
A dual language edition (French and German)
of six original drawings, with text. Printed on
Hahnemühle papers, bound in a calfskin box.
21 x 28 cms
2002 Editions Signum, Paris, France
950 Euros
Jane Eyre
Artist: Paula Rego
Introduction by Marina Warner
Paula Rego’s lithographs based on Charlotte
Brontë’s Jane Eyre, paired with extracts from the
text, and with a long introduction by Marina
Warner. The de luxe edition is accompanied by
a signed original lithograph.
38 x 26.5 cms
October 2003 Enitharmon Press, London
ISBN 1 900564 44 0 (de luxe)
ISBN 1 900564 49 1 (regular)
£550 and £95 respectively
Or (Gold)
Artist: Wanda Mihulear
Author: Jacques Derrida
Three engravings and a CD (Derrida’s voice
and electronic music) texts on gold paper with
gold leaves, housed in a sculptrual metal box
made by R. Pervoloriq.
32 x 22 cms
2000 Editions Signum, Paris, France
763 Euros
185
The Disappeared and Other Poems
Artist: Tony Bevan
Author: Harold Pinter
A selection of Harold Pinter’s poems from the
1950’s to the present, paired with images of
paintings by Tony Bevan. The de luxe edition is
accompanied by a signed original etching.
Ferry, David
df@soton.ac.uk
Views from the Window Seat
Artist:David Ferry
Essay by Bernard Sharratt
Designed by John Gillett
A spiral bound album of photomontages. The
images were made during a recent coast to
coast North American visit. Published on the
occasion of the exhibition From the Window Seat
at the Avram Gallery, New York, USA in 2002.
32 x 23.5 cms
October 2002 Enitharmon Press, London
ISBN 1 900564 98 X (de luxe)
ISBN 1 900564 04 1 (regular)
£475 and £100 respectively
17 x 17 cms
2002 The Avram Gallery, New York, USA
Edition of 300, £15 each
Farley, Kate
96b Southwell Road
Camberwell
London
SE5 9PG
Tel: 020 7274 5712
kate.farley1@virgin.net
Field Study
P. O. Box 1838
Geelong
VIC 3220
Australia
Tel: 61 3 5277 2478
fluxusstudy@hotmail.com
Inside - Out
Kate Farley
A flat sheet, folded and relief printed to suggest
the complexity and the awkwardness of self awareness.
8 x 8 cms (30 x 40 when open)
2002 London
£32 each
Field Report
Mixed authors/artists
Published by Field Study International
Field Report is the annual of the neo-fluxus
group Field Study International. Since 1996
reports have taken the form of an assemblage.
Participants contribute an edition of 100 pages,
conceived as a “Field Study Emanation.”
Works include performances, instructions,
manifestos, journey works, etc. comb-bound,
hand stamped and numbered. 14.5 x 21 cms
Published annually from 1995, Australia
(back issues also available)
Edition of 100, £25 each
Along the Lines
Kate Farley
The search for summer sun and a day out at
the seaside resulted in Along the Lines.
14 x 30 cms (open)
2002 London
£38 each
186
Wipe
Mixed authors/artists
Published by Field Study International
Wipe is a light-weight bookwork, assemblage of
toilet tissue. Twenty participants contribute to
each issue.
11 x 15 cms
Published from 1998 to present, Australia
Edition of 40, £7 each
(back issues also available)
Flynn, Danny
c/o Middlesex University
Cat Hill
Barnet
Hertfordshire
EN4 8HT
Tel: 07951 704306
dannyamosflynn@hotmail.com
Finlay, Alec
Artist in Residence
BALTIC The Centre for Contemporary Art
South Shore Road, Gateshead,
NE8 3BA
Tel: 0191 478 1810 x 237
Fax: 0191 478 1922
www.balticmill.com
alecf@balticmill.com
Beetle Black!
Danny Flynn
Softbacked, wallpaper covered booklet printed
in letterpress with large woodcut letterforms.
Derogatory text concerning beetles and war.
24 x 24 cms
January 2004, Barnet
Edition of 30, £30 each
Irish 2
An artist’s book by Alec Finlay, with
photographs by Guy Moreton and an audio CD
composed by Zöe Irvine; exploring real and
imagined pathways,interweaving poetry and
place, from Paul Celan’s Irish, to Wittgenstein’s
hut at Skjolden, and his cottage at Rosroe.
Paperback, 28 pages, printed in colour.
Published by Morning Star and BALTIC
ISBN 0 9527669 5 7
Edition of 750, £10 each
Foundry
43 - 47 Raven Row
Whitechapel
London
E1 2EG
Tel: 020 7247 6365
foundry.press@virgin.net
Football Moon
An artist’s book featuring illustrations and
poems by Alec Finlay and type by Jon Harker;
a gentle and amusing evocation of football and
play. Paperback, 24 pages, printed in colour.
Published by Morning Star and BALTIC
ISBN 0 957 669 4 9
Edition of 750, £10 each
From Cradle to Grave
Foundry
Reading Halsbury’s Statutes so you don’t have
to. Fourteen full colour, double page spreads,
hard back bound. 20 x 30 cms (open)
February 2003 Foundry, Whitechapel, London
Un-numbered edition, £20 each
Cowboy Story
A collaboration, with poems by the American
artist Richard Tuttle, drawings by Heather
Deedman, and an audio CD Slide Sunset by Zöe
Irvine. Paperback, 28 pages, printed in colour.
Published by Morning Star and BALTIC
ISBN 0 9527 669 3 0
Edition of 750, £10 each
Day in the Life
Foundry
A day in the life, defined within the pages of
the Daily Mail. Fourteen full colour, double
page spreads, hard back bound.
20 x 30 cms (open)
February 2003 Foundry, Whitechapel, London
Un-numbered edition, £20 each
187
Fruitmarket Gallery Bookshop
45 Market Street
Edinburgh
Scotland
EH1 1DF
Tel: 0131 225 2383
Fax: 0131 220 3130
www.fruitmarket.co.uk
bookshop@fruitmarket.co.uk
Day in the Life
A Modern Olympia
Foundry
The same as Manet’s Olympia only modern.
Nine double page spreads printed onto tracing
paper, hard back bound.
20 x 30 cms (open)
March 2003 Foundry, Whitechapel, London
Un-numbered edition, £20 each
Freeman, Brad
110 Warren Lane
Charlottesville
VA 22901
USA
Tel: 434 244 3319
jabeditor@earthlink.net
Midwest Girls from Hamaniora by Rosalind Nashashibi
Home
Dalziel and Scullion
The first major publication documenting
Dalziel and Scullion’s projects from 1993 to the
present day. 96 pages, with essays by Keith
Hartley, Judith Findlay and David Ward.
22 x 22 cms
ISBN 0 947912 08 8
January 2002 The Fruitmarket Gallery,
Edinburgh
£14.95 each
Love is Lovely
Graham Fagen
Tackling contemporary identity and its
associated myths and fictions. Fagen works with
video, photogrpahy and installation, using a
particular combination of sculpture and
language to explore personal and cultural
influences on the individual. Suggesting fiction,
his work nevertheless deals with social, cultural
and historical accuracies.
17 x 22.5 cms
ISBN 0 947912 43 6
December 2002 The Fruitmarket Gallery,
Edinburgh
£12 each
Nether Wallop
Brad Freeman
Nether Wallop is a visual/textual poem exploring
the intersection of the personal vision of the
artist and the public sphere of social definition.
192 pages, printed in black and white and
colour hardbound casing.
13 x 13 cms
2004 Charlottesville, Virginia, USA
Edition of 500, £10 each
188
pages on 150gsm uncoated paper, it is fully
illustrated and bound in a white A5 ring binder.
The catalogue documents each action with
images and text and contains ephemera from
the various actions.
24 x 20 cms
2003 Geelong Arts Alliance, Geelong, Australia
Edition of 200, £15 each
Hamaniora
Rosalind Nashashibi
Chronicles the work to date of 2003 Beck’s
Futures winner Rosalind Nashashibi, including
new work commissioned for the Visions for the
Future V the fifth exhibition in The Fruitmarket
Gallery’s four-year exhibition series of new art
in Scotland. Texts by Francis McKee, Lucy
Skaer and Sarah Tripp. Image shown: Midwest
Girls, 2002.
22.5 x 17 cms
ISBN 0 947912 58 4
May 2003 The Fruitmarket Gallery, Edinburgh
£10 each
Lights Out
Artist: Geelong Arts Alliance
Limited edition handmade spiral bound book
documenting an exhibition and installation
in the Old Geelong Gaol by over 30 young
unemployed people, exploring the themes
of darkness, surveillance, punishment and
discipline. 15 x 21 cms
2003 Geelong Arts Alliance, Geelong, Australia
£10 each
Gee, Arthur
31 Karen Close
Burtonwood
Warrington
Cheshire
WA5 4LL
Tel: 01925 222368
Such Fertile Ground
Artist: Regional Arts Victoria and
Geelong Arts Alliance
A set of 12 coloured postcards documenting
each large-scale land art action by 12 regional
Victorian communities working with local
artists. The first card is blue sheep, a work
made up of over 300 blue and white sheep by
Koori artist Glenn Romanis and the Geelong
Arts Alliance. 11.5 x 23 cms
2001 Regional Arts Victoria, Melbourne,
Australia
£10 each
Serendipity
Arthur Gee
Each book is a compilation of original watercolours, drawings, monoprints, plus editioned
etchings and relief prints. Landscape and Birds.
Six works plus text per book. Paper covered
boards with gold embossed motif, with
stencilled hawthorn leaves, in slipcase.
30 x 29 cms
December 2003 The Green Man Press,
Burtonwood
£150
Gilligan, Rosie
2 The Knoll
Chesterfield
Derbyshire
S40 3PS
Tel: 01246 568321
rosie_gilligan@yahoo.co.uk
Geelong Arts Alliance
PO Box 1229
Geelong
VIC 3220
Australia
Tel: 61 3 5222 8300
gaa@swift.net.au
Contact: Susan Hartigan and Glen Smith
The Stream of Consciousness
Rosie Gilligan
A visual journey across various states of mind.
The eleven drypoint images form one
continuous strip 71/2 metres in length and
folded in a concertina, not attached to the
cover. Printed in black.
19 x 34 cms
2003 Bradford College, Bradford
Edition of 3, £70 each
FAST (24 Hour Actions)
Artist: David Morison / Geelong Arts Alliance
The FAST catalogue, designed by David
Morison, documents the 14 actions of Geelong
Arts Alliance’s 2002 project, FAST (24 Hour
Actions). Each individualised catalogue is 64
189
Griffiths, Noëlle
Hafod Y llyn
Maentwrog
Gwynedd
LL41 3AQ
Wales
Tel: 01766 590 638
www.hafod-art.co.uk
hafod.art@virgin.net
Hand and Eye Letterpress
9 Railway Street
London
N1 9EE
Tel: 020 7278 9606
www.handandeye.co.uk
handandeye@mac.com
Getting There
John Hunter
Lino cut alphabet book, printed direct from
blocks with accompanying letterpress type
printed in two colours.
21.3 x 26.4 cms
2003 Hand and Eye Letterpress, London
£49.50
Hands Books
Noëlle Griffiths
Three concertina books, 6 pages each with
three colour collograph prints on TH Saunders
300 gsm paper. Each has indigo khadi covers.
Children’s hands, semi abstract and revealed
images.
14 x 12 cms
2002 Hafod Press, Snowdonia, UK
Edition of 3 sets, £500 per set
Harris, Stina
5 College Terrace
Ackworth
Pontefract
West Yorkshire
WF7 7LB
Tel: 01977 611251
destina@harrides.fs.net.co.uk
Letters Books
Noëlle Griffiths
Three concertina books, 6 pages each with
three colour collograph prints and hand
written text on TH Saunders 300 gsm paper.
Each with burnt sienna khadi covered card
covers. Each book is a love-message from three
imagined victims of September 11 2001 to their
loved ones.
14 x 13.5 cms
2002 Hafod Press, Snowdonia, UK
Edition of 3 sets, £500 per set
Sectioned
Stina Harris
Sectioned is an account of three weeks in a
loony bin. It consists of 13 drypoints on
Saunders Waterford paper and text on
Japanese semi - transparent kawagata paper.
Made in two editions; the above and a lower
cost computer generated version.
30 x 27.5 cms
March / April 2003 Bradford College, Bradford
and Yorkshire Arts Circus
Edition of 10 drypoint copies, £200 each
Edition of 20 computer copies, £20 each
India Books
Noëlle Griffiths
Three books with centre fold - out, 7pp each.
Colour digitally printed images including:
photographs, paintings, rubber stamps, text on
300gsm watercolour and Japanese paper.
Each sewn into khadi handmade paper covers.
Visual experience of temples of Tamil Nadu
(Seeing Book), nature of Kerala (Breathing Book),
palaces of Rajasthan (Being Book).
14 x 25 cms
2003 Hafod Press, Snowdonia, UK
Edition of 50 sets, £40 per set or £15 each
Hazell, Rachel
Top Flat
3 Kirk Street
Edinburgh
EH6 5EX
www.hazelldesignsbooks.co.uk
rachel.hazell@virgin.net
190
is found which lifts up to reveal text within torn
silk. Unique book box.
3.5 x 11 cms (3.5 x 23 cms open)
2003, UK
£150
Believe Me
Artist: Rachel Hazell
Author: Ali Smith
A very limited edition of a quirky story by
acclaimed writer Ali Smith (shortlisted for the
Booker prize). Monoprints and text stitched
onto flannel sheet, explores the trust and
humour of a relationship.
18 x 25 cms
August 2003 Hazell Designs Books, Edinburgh
£133
Holleley, Douglas
116 Elmwood Avenue
Rochester
NY 14611
New York
USA
Tel: 001 585 436 0735
www.clarellen.com
douglas@clarellen.com
Healey, Lauren
19 River View Close
Holme Lacy
Hereford
HR2 6NZ
Tel: 07779 578 713
lolskibushbaby@yahoo.co.uk
The X Portfolio
Douglas Holleley
The X Portfolio contains a short story which
begins by re-calling a somewhat traumatic
childhood event and concludes with a
speculative vision of the nature of life after
death. Comprising of 16 images each 13 x 17
inches, the portfolio is published on demand
with a final edition limited to 32 copies.
The images are made with a digital camera,
printed on watercolour paper and are housed
in a portfolio case, hand made by the artist.
43 x 48.5 cms
2003 Clarellen, Rochester, New York, USA
Edition of 32, $800 USD each
Moroccan Book
Lauren Healey
20 page handmade book, leather bound with
various processes used: etching, screenprint,
collograph, lino and collage. Based on travel
experiences around Morocco, my work aims to
recognise the subtle layers that separate the
outsider’s gaze from what is real.
23 x 22.5 cms
2003 Leeds
Edition of 5, £500 each
Hill, Andrea
75 Vanbrugh Hill
Greenwich
London
SE10 9HB
Tel: 020 8305 1148
Hunter, Heather
46 Stokes Croft
Haddenham
Aylesbury
Bucks
HP17 8DZ
heather.hunter@tesco.net
Sanctuary
Andrea Hill
A locket with a key, containing a map and old
sepia photograph fragment, encased within an
old jewellery box. Inside, a secret compartment
Patterned Landscape
Heather Hunter
A special garden’s landscape, observed
191
throughout a year, “follow a path, follow a
pattern.”
19 x 20 cms
June 2003, UK
Edition of 25, contact artist for price.
Hyslop, Jane
7 Durham Place
Bonnyrigg
Midlothian
EH19 3EX
Tel: 0131 654 1624
jane@print.freeserve.co.uk
Treasures
Heather Hunter
The beauty of things incomplete and / or
impermanent. Collected as a record of
memories similar to those found in museum
collections. Digital images bound in a Japanese
bookcloth covered case binding.
13.5 x 13.5 cms
2002 Heather Hunter Books, Haddenham
£60
Hurlstone, Nigel
Garden Flat
18 Victoria Road
Clevedon
Bristol
BS21 7SB
Tel: 0117 32 84760
nigelhurlstone@hotmail.com
Legacy
Jane Hyslop
A collection of 27 digital prints of labels from
home made frozen food, jams, preserves, dried
herbs etc. Dedicated to my mother. Bound in
white buckram.
10 x 11.5 cms
March 2003 Midlothian
Edition of 20, £40 each
Wild Plants Collected in Midlothian
Jane Hyslop
A concertina book with each page representing
a month, extending to a continuous frieze 305
cms long, showing the year through changing
plants. The title is screenprinted on Somerset
satin white, images etched on BFK Rives grey
and contained in a white buckram slipcase.
16.5 x 26.5 cms
March 2003 Midlothian
Edition of 50, £95 each
Peephole: Caught Looking
Nigel Hurlstone
A unique bookwork consisting of 35 Mills and
Boon paperbacks. The books were scorched,
fixed and manipulated into a cast lead base.
Placed consecutively in a horizontal row to
allow a view through the peephole.
15 x 10 cms (95 cms as installation piece)
2000, Manchester
Unique bookwork, contact artist for price.
192
Idaho Center for the Book
MS 1525
1910 University Drive
Boise
Idaho 83725
USA
Tel 001 208 426 1999
www.lili.org/icb
ttrusky@boisestate.edu
with CD-ROM. The whole package is from an
exhibition featuring catalogues as artists’ books
and includes essays by: Anne Dorothee Böhme,
Anthony Elms, Barbara Moore, Mary Jane
Jacob, with excerpts from an interview with
Christian Boltanski, and excerpts from email
conversations with Alan Cravitz, a Chicago
based collector. 29 x 15 cms (box size)
2003 The School of the Art Institute
Chicago, USA
$45 USD (approx £27 GBP)each
Johanknecht, Susan
Gefn Press
5 Elmwood Road
Herne Hill
London
SE24 9NU
www.pauperspublications.com
gefnpress@ntlworld.com
Idaho Authors
Kathy Robinson and Tom Trusky
Hemingway, Pound and nine other literary
notables appear in this updated version of the
classic card game. 8.8 x 6.3 cms
2003 Boise, Idaho
$9.95 USD each
Joan Flasch Artist’s Book Collection
The School of the Art Institute
37 South Wabash
Chicago
IL 60603
USA
Tel: 001 317 899 5098
aboehme@artic.edu
Modern (Laundry) Production
Susan Johanknecht
Text derived from 1940’s laundry trade
manuals and imagery from time and motion
studies of a woman feeding a calendar
machine. Horizontal concertina structure in
slipcase, printed offset litho at the Pauper
Press, London. 14 x 38 cms (open)
December 2001 Gefn Press / Paupers
Publications, London
ISBN1 902596 26 9
Edition of 150, £30 each
The Consistency of Shadows: Exhibition Catalogues
as Autonomous Works of Art
Concept and Design by: Anne Dorothee Böhme
and Kevin Henry
Seven folded, die-cut leaflets housed in a
custom fitted vacuformed clear acrylic box,
193
pattern. Dual French and English text.
30 x 30 cms
April 2001 Charleroi, Belgium
Edition of 300 copies, £48 each
Jones, Shirley
Red Hen Press
Byddwn Uchaf
Llanhamlach
Brecon
LD3 7SU
Tel: 01874 665 297
ken@tkjones.2x3.net
Cenotaph
Christine Kermaire
Photographs of an atomisation funeral urn.
Presented on dark grey wool cloth boards with
six grey decorated leaves of hieroglyphic text
on a sand like surface. Inside the back cover is
an original artwork mounted behind plexiglass,
the front cover contains a metal air vent.
30 x 30 cms
May 2002 Charleroi, Belgium
Edition of 300, £48 each
Etched Out
Shirley Jones
A triptych on custom made paper; the text
describes the 1940 eviction of 52 Welsh farming
families: their land comandeered for an army
firing range. Six landscape etchings and a 38
inch pull - out mezzotint overprinted with the
farm names.
41 x 31 cms
2002 Brecon, Wales
Edition of 40, £725 each
Kirby, D.G.
Typecast / The Paperboy Press
20 The Friary
Friary Close
Southsea
Hants
PO5 2LS
Tel: 07766 283 693
davidgkirby@hotmail.com
Kermaire, Christine
32 Avenue Henin
6000 Charleroi
Belgium
Tel/Fax: 0032 (0)71 32 00 66
Beachy Head
Christine Kermaire
Photographs of the prominent chalk headland
Beachy Head (the cape between Dover and
Brighton in England) with a 6PS Global
Positioning satellite. The 36 page booklet has
16 illustrations, bound in ochre cloth with a
decorated landscape (Beach Head) in a red
and black synthetic bag.
17 x 24 cms
2003 Charleroi, Belgium
Edition of 300, £48 each
Survival Phylactery Yarvis Syndrom
Christine Kermaire
Photographs of a Russian submarine (inside,
torpedo…). A 24 page booklet, each page is
illustrated with one plate mounted between
pivoted cloth - covered boards in a camouflage
Urban Wildlife
David G Kirby
A whimsical meditation based on the song by
Tom Lehrer, “Poisoning Pigeons in the Park.”
Fold - out colour maps of London, with origami
194
birds, and text in middle slipcase. Bound in
green handmade covers.
9.5 x 10 cms
2003, UK
Edition of 20, £18 each
Foot and Mouth
Éilis Kirby
Sealed in an openable, clear plastic bag with
warning label. Contains gloves and an
illustrative box for the object - orientated.
18 black and white pages of tell - tale signs and
precautions. 4 copies made with cows and 1
made with sheep.
29.5 x 20.5 cms
2002 Bristol
Edition of 5, £25 each
Free-ad Poetry
David G Kirby
An idea based on the classified adverts in our
local ‘Free-ads’ paper. Adverts are placed in the
form of poems. Or poems are placed in our
local ‘Free-ads’ paper in the form of classified
adverts. Result? (mostly) free publishing.
21 x 29.7 cms
2002 and onwards as they appear in the paper.
Klein, Randy
30 Homeleigh Road
London
SE15 3EE
Tel: 020 7635 8627
www.randyklein.co.uk
randy@klein.f9.co.uk
Kirby, Éilis
61 Aubrey Road
Bedminster
Bristol
BS3 3EZ
www.southbank-bristol.co.uk
mikeilis@yahoo.com
Handbook
Éilis Kirby
Subtitled “Elementary Cataloguing” this 20
page black and white volume contains
information and intriguing illustrations which
combine to assist the reader in ‘being’.
15 x 11 cms
2003 Bristol
Edition of 8, £2 each
Home Truths
Randy Klein with Farouk Campbell and
residents of Thames Reach Bondway
Documenting an artist’s residency by Randy
Klein with a homelessness charity in Thames
Reach Bondway. Former rough sleepers made
an award winning video, a 5 1/2 metre sculpture
and this book. Full colour 24 pages.
21 x 21 cms
2003 Taking Shape Books, London
ISBN 0 9542951 1 0
£7 each (£8.50 inc. p&p)
195
Aide Oubli
Andrew Lanyon
Unique hollow book. The first of Mervyn
Rowley’s Aides Oubli from Vera’s Tower of Silence
an edition to be published in 2004. Vera and
Mervyn are two of the main characters in a
series of 10 books published in the last twenty
years and now being made into films.
18 x 12 cms
2004 Cornwall
Edition of 150, £175 each
Laidler, Paul
27 Deanery Road
St George’s Place
Bristol
BS1 5QH
Tel: 07952 194 310
Paul.Laidler@uwe.ac.uk
Lucey, Conor
89 St Stephen’s Green
Dublin 2
Ireland
Tel: 003531 478 5137
www.aspectable.com
conor@setanta.ie
Spiritual Spectrum
Conor Lucey
Metaphysical colour guide in the form of a
swatch book. 14 colour pages digitally printed
on 200gsm silverblade gloss.
11.8 x 4.9 cms
2002 Dublin, Ireland
Edition of 50, £15 each
Holy Bible
Paul Laidler
This book is just so clever.
15.7 x 10.4 cms
AD 2003, Laidler Productions, Bethlehem
Unique edition £75
The Planets
Conor Lucey
A perspective on the difficulty of being within
the larger context of infinite space. Black and
white, 24 numbered pages. Third (enlarged
edition).
14.8 x 14.8 cms
ISBN 190177659 X
2002 Mermaid Tubulence, Leitrim, Ireland
Edition of 500, £4.50 each
Thinking of You
Paul Laidler
Courtesy of the Thanks for Nothing range.
25 x 12 cms
2003, Laidler Productions, Bristol UK
£100
Within Without
Conor Lucey
Pinhole photographs and polaroids, duotone
plates, 4-8pp.
ISBN 190177611 5
Mermaid Tubulence, Dublin, Ireland
Edition of 500, £7 each
Lanyon, Andrew
Polcrebo Moors
Helston
Cornwall
TR13 0BG
Tel: 07748 465 020
Lydia Megert Editions
23 rue de Chéroy
75017 Paris
196
France
Tel: 0033 1 4522 1228
lydiamegert@gmx.net
Lyons, Joan
176 Rutgers Street
Rochester
NY 14607
New York
USA
Tel: 001 585 473 3046
www.vsw.org/faculty-students/joanlyons1
jlyons1@frontiernet.net
Mexico City - Walls
Joan Lyons
Sequence of colour photographs of the rich
iconography of Mexico city. Pigment - based
inkjet on rag paper, 40 pages, hardbound.
51 x 32 cms
2002 Rochester, New York, USA
Edition of 5, £$500 USD each
Red Jasper 2001
Helmut Dirnaichner
Two handmade pages, one with a poem in
German by the artist. Wrapped in Japanese
paper and case bound in hand - made paper.
69.5 x 34 cms
2002 Lydia Megert Editions, Paris, France
Edition of 7, 1600 Euros each
Grey and Gray - From Earth
Herman de Vries
The fourth volume in the series Library of Earth
Colours nine sheets with earth rubbed in by the
artist. One coverpage in a case, the fifth volume
published in summer 2003. 28.5 x 21 cms
2002 Lydia Megert Editions, Paris, France
Edition of 17, 1600 Euros each
Twenty - Five Years Ago
Joan Lyons
A lost wallet, its contents intact is returned
along with some long ago memories. 24 pages,
saddle stitched, black and white with colour
cover. See www.vsw.org for details and images.
23 x 20 cms
ISBN 0 89822 075 0
VSW Press, Rochester, New York, USA
Edition of 250, $12 USD each
Serifos / Simi / Albi
Antonio Scaccabarozzi
Three different editions, each an object in
resin in a case with one coverpage of text by the
artist. One page also with biography and
bibliography in German and Italian.
32.5 x 23 cms (box size)
2002 Lydia Megert Editions, Paris, France
Edition of 5 for each of the 3 editions,
1200 Euros each
Martin, Jenny
6 Pathfield Cottages
St Cleer
Liskeard
Cornwall
PL14 5DD
Tel: 01579 342097
jenny.martin@su.plymouth.ac.uk
197
Drawrite
Jenny Martin
a single sheet folded page of drawn writing,
photocopy on cartridge papers, re-used card
and string. Hand made.
9.5 x 9.5 cms
2002 Liskeard, Cornwall
Unlimited edition, £6.50 each
Remains to be Seen
Jenny Martin
A handmade book of rubbings on folded lining
papers, wax and graphite, eight pages.
14 x 9.5 cms
2002 Liskeard, Cornwall
Edition of 25, un-numbered, £12.50 each
10 x 10 cms
2002 Bristol
Edition of 22, £35 each
Malbik Endar
Imi Maufe
121 words on 121 pages: one for each day of my
cycling trip to Iceland via Orkney, Shetland and
the Faroes; returning through Norway and
Denmark. Letterpress printed text, perfect
bound and tied, in a flip-book style.
6 x 15 cms
2002 Bristol
Edition of 40, £25 each
Marking Time
Jenny Martin
A record of a simple solar clock made by
visitors to the studio on the exterior wall during
August / September 2002. A brief investigation
of time (Marking Time is a working title, please
contact the artist for more details).
Scroll (approx 25 cms x 6 cms diameter)
2003 Liskeard, Cornwall
McDowall, John
Maufe, Imi
16 Picton Street
Montpelier
Bristol
BS6 5QA
Tel 0117 944 6521
www.axisartists.org
bluedogtours@hotmail.com
Flat 2
259 Manningham Lane
Bradford
BD8 7EP
Tel: 01274 543912
Mask - Canadian Eclipse
John McDowall
Continuing the series of Mask and Mask - 16
details, this presents a collection of 52 black
discs of varying sizes and positions as found in
certain Canadian publications. Perfect-bound
in hard cover, 112 pages, screenprinted.
22 x 15.8 cms
2002 Bradford
£40 each
Cycle Ride
Imi Maufe
An accordion screenprinted book of blue
photographic images of signs, from photos
taken on a bike ride from Bath to Frome.
10 x 10 cms
2002 Bristol
Edition of 20, £15 each
Atlas
John McDowall
360 photocopied, hand - numbered loose
sheets, contained in a fluted card box with
screenprinted title. As these are dispersed a
shifting, expanding atlas will form, with a
conceptual and yet physically actual geography
Getting Lost
Imi Maufe
A short journey, made long by getting lost,
journey interpreted onto one sheet of paper,
screenprinted in two colours, with arrows, cut
and folded to create the illusion of getting lost
in a book. Folds up into slipcase.
198
1997 - 2001 and is the fourth book of a
continuous diary project in its 11th year.
Its pages are covered with photographs, found
objects and texts creating a rich and unique
diary / artwork. 35 x 30 cms
created in the space between the pages.
27.5 x 21 cms
2002 Bradford
£55 each
Kakusu - a graphic score
John McDowall
Sewn folio, 20 pages, photocopy. Following the
theme of the Mask books, the shapes, in this
case, are from Japanese mangas.
Open, indeterminate visual notation to be
interpreted and improvised from by a solo
performer, for any instrument or voice.
27.8 x 20.3 cms
2003 Bradford
£15 each
Skeleton Diary
Steve McPherson
This is the third book of five created in the
process of an ongoing collaged diary project.
Taking two years in the making (1995 - 1997)
it holds the everyday detritus, thoughts and
images of the life of the artist from that period.
26 x 22 cms
McGarry, Andi
Sun Moon and Stars Press
Kilmore Quay
Wexford
Eire
www.geocities.com/sunmoonstarspress
sunmoonandstarspress@hotmail.com
Compass Diary
Steve McPherson
The fifth, current and incomplete book of a
continuous diary project in its 11th year.
Started in 2001, this original and unique diary
continues and refines the collage techniques
formulated in the previous books. 27 x 21 cms
Mugridge, Stuart
40 Edward Street
Southborough
Tunbridge Wells
Kent
TN4 0HB
Tel: 01892 523 615
www.smabs.co.uk
stuartmugridge@smabs.co.uk
Paddle Notes
Andi McGarry
Marbled entirely with indian ink drawings, the
narrative charting a trip in a boat one day in
high summer.
14 x 11 cms
2002 Sun Moon and Stars Press, Eire
£40
Seven Short Walks
Stuart Mugridge
A set of walk route cards and a magnifying
glass. Based on walks made in Grizedale Forest,
Cumbria, inspired by moss, lichens and Ruskin.
20 x 14 cms
ISBN 0 9542577 4 X
June 2002 Grizedale Books, Grizedale
£10 each
McPherson, Steve
Tel: 07968 970 277
fgp7297@hotmail.com
Occasional Stranger Diary
Steve McPherson
This bloated one-off book was created during
199
Arcadian Greens Rural
New Arcadian Journal No. 53 / 54
Artists: Catherine Aldred, Janet Boulton, Chris
Broughton, Ron Costley, Howard Eaglestone,
Gary Hincks and Andrew Naylor
Authors: Stephen Bending, Michael Cousins,
Patrick Eyres, Harry Gilonis, Sandy Haynes and
Robert Williams
NTL / VTC
Stuart Mugridge
A record of time spent sitting by and strolling
around the Helford River in Cornwall. The
book is bound in a groundsheet - type material
sleeve.
7.5 x 15.5 cms
July 2002 Tunbridge Wells
£22 each
This epic collaboration between seven artists
and six writers celebrates the NAJ’s 21st
birthday by exploring the gardens created by
two poets: the Georgian, William Shenstone,
at The Leasowes, and the contemporary,
Ian Hamilton Finlay, at Little Sparta.
21 x 14.8 cms
2002 Leeds, £20 each
Sea I - Wave
Stuart Mugridge
A hardback book, with printed pages, based on
the cross - section of a wave.
14.5 x 20.5 cms
February 2003 Tunbridge Wells
£36 each
Hollis at Halstock
New Arcadian Journal No. 55 / 56
Artists: Catherine Aldred, Chris Broughton,
Howard Eaglestone and Andrew Naylor
Author: Patrick Eyres
This collaborative venture ‘unearths’ a
forgotten conceptual landscape in Dorset –
Thomas Hollis’s Georgian Pantheon of Liberty.
Work-in-progress engages with Lister Park’s
restored landscape of civic virtue in Bradford,
and Wentworth Castle’s landscape of Jacobite
treason in South Yorkshire. 21 x 14.8 cms
2003 Leeds
£20 each
New Arcadian Press
Patrick Eyres
13 Graham Grove
Leeds
LS4 2NF
www.leeds.ac.uk/fine_art/external/press/nap/
Kew Gardens
New Arcadian Journal No. 51 / 52
Artists: Catherine Aldred, Chris Broughton,
Howard Eaglestone and Andrew Naylor
Authors: Patrick Eyres, Richard Quaintance
The New Arcadian tradition of artist-writer
collaborations on landscape continues with
an ‘archaeological’ investigation at Kew –
in search of the politically and sexually
controversial Georgian royal pleasure grounds
that have been so thoroughly overgrown by the
contemporary botanical gardens.
21 x 14.8 cms
2001 Leeds
£20 each
Nicholson, Mike
Stokey Comics
The Basement Flat
104 Shakespeare Walk
Stoke Newington
London
N16 8TA
Tel: 020 7249 2187 / 07711 334 913
ladnicholson@yahoo.co.uk
200
Bristol
BS1 6UX
Tel: 07979 952 982
www.ottoillustration.com
otto@ottoillustration.com
Immoral Compass
Artist / Author: Mike Nicholson
Edition Six of the series one reader called “the
definitive paper - based hallucinogen.” Where
are The Hills of Home, how do the disturbing
Agony Uncles seek to exploit them, and why
doesn’t Sheriff Ron seem to give a damn?
29.7 x 21 cms
October 2002 Stokey Comics / Ensixteen
Editions, London
£3.50 each
BOGOF
Otto
Visual narrative with text, photography and
illustration. BOGOF deals with the cultural
phenomenon of shopping, consumption and
advertising. Photocopied.
13 x 15 cms
September 2002 Otto, Bristol
Edition of 200, £10 each
Parraman, Carinna
Centre for Fine Print Research
UWE, Bristol Faculty of Art, Media and Design
Kennel Lodge Road
Bristol
BS3 2JT
Tel: 0117 32 84770
www.uwe.ac.uk/amd/cfpr
Carinna.Parraman@uwe.ac.uk
Pun Amnesty
Artist / Author: Mike Nicholson
Edition Seven: There’s New Badness in the Old
Town…Mutinous pets and a neighbour who
wants more than a cup of sugar are just the
beginning for Ron. ‘Comics International’
called it “intelligent and amusingly inventive,”
see what you think.
29.7 x 21 cms
September 2003 Stokey Comics / Ensixteen
Editions, London
£4.00 each
Cog and Balls
Artist / Author: Mike Nicholson
Big Town rings to the crash and bang of all out Robot Sex War, and Ron’s caught in the
middle! An exotic one-off collaboration
between Ensixteen Editions and Danish
designer and robot-smith M. S. D. Ambeck
29.7 x 21 cms
Winter 2003 Ensixteen Editions, London
£3.50 each
Consequences / Gevolgen
Artists: Rudi Bastiaans and Carinna Parraman
A book of an image-based exchange between
the two artists; one in the UK and one in The
Netherlands. The book is a two-year project
looking at the visual similarities yet cultural
differences of ‘place’. The postal exchange of
images will result in a digitally printed book of
photographic consequences.
26 x 21 cms
2005, Bristol
Edition of 20, contact artist for further details.
Otto
Top Floor
Spike Island Studios
133 Cumberland Road
201
Phillips, Benedict
www.thebenedict.com
Porteous, Susan
116 Totley Brook Road
Sheffield
S17 3QU
susan_porteous@talk21.com
river river - Dry Dock
Benedict Phillips
Installation / performance, a fleet of 6
cardboard boats displayed in a window .
From this base, over six weeks the boats were
launched into the River Hull or Humber.
Photo concatenate book.
11 x 9 cms
2003, UK
Edition of 25, £10 each
dick
Susan Porteous
cock, bone, knob, bishop, wang, thong, hot
rod… and 53 more terms. The subject is
echoed in the shape and size of the book.
Hand produced in an accordion fold format
with screenprinted text forming a continuous
line.
4.5 x 18.4 cms
2002 Leeds, UK
Edition of 10, £20 each
Drinking Games
Susan Porteous
Rules for an alternative version of Chess, where
forward thinking, logic and concentration are
thrown out the window and replaced by large
amounts of alcohol. An accordion fold book,
hand printed and bound.
8.4 x 12.7 cms
2002 Tempe, Arizona, USA
Edition of 10, £15 each
A Book For Loozing In The Street?
Discarded products collected and documented.
A catalogue of once treasured objects discarded
in the streets of York. A vac-packed book placed
in the locations marked within, 600 copies were
‘lost!’.
10.5 x 14.8 cms
Edition of 800, £6 each
piss
Susan Porteous
Ever thought about the number of ways the
word piss can be used and interpreted? This
book combines terms and their definitions,
illustrated by 17 images of public bathrooms.
Screenprinted and handbound.
12.8 x 13.5 cms
2003 Leeds, UK
Edition of 10, £20 each
Red Fox Press
Cashel
Foxford
Co Mayo
Ireland
Tel: 00353 94 57848
www.redfoxpress.com
info@redfoxpress.com
Scratched
Miniature skateboards displaying photographic
evidence of skating marks that are made when
skateboards come into contact with the urban
landscape. On small boards in paper envelopes
Photo, plywood and grip tape.
28 x 7cms
Edition of 72 x 5 boards, £100 each
The Old Grey House
Artist: John Behan
Author: John F Deane
202
Limited handprinted edition signed and
numbered in plexiglass slipcase. 29 x 20 cms
2003 Red Fox Press, Foxford, Ireland
Edition of 75, £120 each
Rindl, Deb
Talk Sense Press
8 Newick Road
Clapton
London
E5 0RR
Tel: 020 8533 7561
deb_rindl@yahoo.co.uk
Norma Jean
Francis van Maele
A pictural work on Marilyn Monroe,
screenprinted on maculation paper.
30 x 21 cms
2003 Red Fox Press, Foxford, Ireland
Edition of 20, £95 each
Knock on Heaven’s Door
Various artists
Screenprinted edition on Marian Art paper,
25 artists contributing from 3 continents.
Housed in a wooden box. 10 x 15 cms
2003 Red Fox Press, Foxford, Ireland
Edition of 50, £100 each
A Recipe for Disaster
Deb Rindl
This was made as a response to the conflict in
Afghanistan, but applies equally to the war in
Iraq. The perspex ‘stealth bomber’ holds a
bomb, containing the recipe, and two smaller
bomblets. Photocopied and inkjet printed.
29 x 22 cms (boxed)
2002 Talk Sense Press, London
Edition of 35, £170 each
Reid, Brendan
Glentworth
4 North End Road
Yatton
Bristol
BS49 4AL
Brendan.Reid@uwe.ac.uk
An Artificial Sense of Security
Brendan Reid
“The invisible ground from which it is possible
to scaffold moving layers of construction
enables us to recover modes of awareness quite
removed from the initial hypothesis or
rationality” - Daniel Libeskind Countersign
Academy Editions, 1991. “Build it and they will
come” - Kevin Costner Field of Dreams 1989.
20 x 20 cms
2003 Bristol, £75
Night Flier
Deb Rindl
In this Ancient Roman example of a
palindrome, I found the poetic quality of the
English translation particularly evocative.
It conveyed to me the notions of being cleaned
and reborn, which can sometimes be painful.
Laserjet printed.
19 x 12 cms
2002 Talk Sense Press, London
Edition of 30, £45 each
203
18 x 10 cms
2004 Evil Prints, St Louis, Missouri, USA
Edition of 30, £275 each
To Be Or Not To Be
Deb Rindl
This piece was made in response to a difficult
time I was going through, and illustrates the
feeling of being cut off from the rest of the
world. Laserjet printed, contained in a grey
card box.
2003 Talk Sense Press, London
Edition of 25, £25 each
Roe, Trudy
22A Somersall Lane
Chesterfield
S40 3LA
Tel: 01246 569487
Show and Tell: the Secrets of the Sex
Maddy Rosenberg
Images of women carved in stone are hand
drawn, digitally printed, and interspersed with
overlays of text. Hard cover, Japanese binding.
22.5 x 27 cms
2003, NYC, USA
Edition of 25, £200 each
Kaleidoscope
Trudy Roe
This work is dominated by the theme of
understanding developing life forms.
Kaleidoscope takes me on a questioning
photographic journey through plant evolution.
This is a 28 page folded book with embossed
card cover. Inkjet printed.
9.5 x 8.5 cms
2002 Chesterfield
Open edition, £20 each
The Spiral Maze
Artists: Maddy Rosenberg / Hubert Sommerauer
A pop-up book folded in multiple directions to
reveal cavernous spaces woven together with
pieces of structures. The artists alternate and
incorporate their drawings for their second
collaboration in this digitally-printed book.
13.5 x 13.5 cms
2004, NYC, USA
Edition of 20, £325 each
Processes of Change
Trudy Roe
A questioning book about the processes that
drive life forms to grow and change, focussing
on plants. An illustrated philosophical treatise
of 30 pages in a folded book, covered in
embossed card with photo inserts.
9.4 x 8.5 cms
2003 Chesterfield
Open edition, £20 each
Schofield, Lucy May
20 Kingsbury Street
Brighton
East Sussex
BN1 4JW
Tel: 07775 762 230
lucymayschofield@hotmail.com
Rosenberg, Maddy
63 Tiffany Place #407
Brooklyn
NY 11231
Tel: 001 718 797 1005
maddrose@hotmail.com
Dystopia
Maddy Rosenberg
Relief printed accordion book that transforms
its pages of hand-cut skyline into a threedimensional town.
204
Perforated Love Notes
Lucy May Schofield
A small concertina booklet of love sentiments,
separated by perforations; to be torn off and
placed in the pockets, under the pillows and in
the hands of the ones who you sometimes
forget to tell how you feel. 5.7 x 5.7 cms
2003 The Cat’s Me-Ow Press, London
Edition of 500, £3.50 each
The Song of Solomon
Philip Smith (MBE, ARCA, MDE)
Book printed in Ascona - “Altered Book” with
extra pages painted in acrylic with sayings on
love, wisdom and consciousness. Printed on an
Epson Stylus Photo 1290 (A3), two copies
bound in leather with patent lap-back book
structure, image created in maril and leather
onlays.
24.7 x 17 cms
2002 Centro Del Bel Libro, Ascona
£25,000 each
Sheen, Nicola
80 Hazlehurst Brow
Daisy Hill
Bradford
BD9 6AQ
nikkisheen@blueyonder.co.uk
Sowden, Tom
93 Raleigh Road
Southville
Bristol
BS3 1QU
Tel: 0117 939 1673
www.cafeshops.com/tomtruck
tom.sowden@blueyonder.co.uk
Contents
Nicola Sheen
An ongoing series: studies of the contents of
people’s handbags, briefcases etc. Can also be
commissioned (medium Docutech binding,
report style). 20.5 x 20.5 cms
2002 Bradford
£25 each
I See You Baby, Watching Them Pass
Tom Sowden
A collection of the Coach Performances stages
from 2003. A book of seats.
16 x 11 cms
2004, Bristol
Edition of 5, £100 each
Dog
Nicola Sheen
Flick book of the same image of a moving dog,
medium Docutech format, bound by hand.
10 x 15 cms
2002 Bradford
£20 each
Live to Work
Nicola Sheen
Repeated images of a diary page with hand
written “work” in each daily entry. Medium
Docutech format, with handwriting,
perfect-bound by hand.
20 x 20 cms
2003 Bradford
£50 each
Smith, Philip
The Book House
Yatton Keynell
Chippenham
Wiltshire
SN14 7BH
Tel: 01249 782 597
38 Mondeos in a One Night Stand
Tom Sowden
Performance number 13 in the Coach
Performance Series. A book of 38 Mondeos.
10 x 10.5 cms
2003, Bristol
Edition of 5, £25 each
205
Piano-hinged concertina book with 9 sewn
single sections. Tiny chapters giving a childs-eye
view of The Christmas Pudding, carol-singing
etc. Illustrated with figurative and abstract red
and green papercuts; pockets with songs, games
and recipes.
10.6 x 13.1 cms
2002 Cat and Coat, Lancaster
Edition of 5, £50 each
Sykes, Sandy
12 Kirkley Road
London
SW19 3AY
Tel: 020 8540 8528
www.sandysykes.co.uk
sandy@sandysykes.co.uk
King of the Road
Tom Sowden
Performance number 17 in the Coach
Performance Series. A book of lorries and drivers.
14 x 10.5 cms
2003 Bristol
Edition of 5, £40 each
Stamp, Catriona
38 Coverdale Road
Lancaster
LA1 5PY
Tel: 01524 840 530
catrina@catandcoat.co.uk
Moon Myths
Catriona Stamp
Coptic-bound miniature book. Four traditional
stories from North and South America, China
and Africa, retold with 14 original scraperboard
illustrations by Catriona Stamp. Inkjet printed
on calligraphy paper. Cream cover ‘hide’ paper.
7 x 4.7 cms
2003 Cat and Coat, Lancaster
Edition of 100, £10 each
Paradise is Always Where You’ve Been
Sandy Sykes
Linking Dante’s “Paradiso” with current world
events, the imagery is an assemblage of found
texts and photographs and the artist’s original
drawings. Throughout time, physical and
mental lines have been stepped over in search
of an earthly paradise. It is rarely obtained
but hopefully looked for. It is our human
condition. Paradise is in many major collections.
26 x 33 cms
ISBN 1 90 21 1 1002
2000 Marty Apple Graphics, Britain
Edition of 140, £150 each
Crysalis 1
Catriona Stamp
Scroll 10 cms x 180 cms approx, held in a
papier maché crysalis with knob for winding.
Inkjet printed on Japanese paper - reflections
on names, physiology and behaviour of British
butterflies, with poem, printed over coloured
butterflies.
6 x 24 cms
2003 Cat and Coat, Lancaster
Edition of 25, £45 each
Tacq, Christine
The P’s and Q’s Press
2 Essex Road
Thame
Oxon
OX9 3LT
christine.tacq@talk21.com
Signs of Christmas
Catriona Stamp
206
with images from museum artefacts. Letterpress
and collagraphs with chine collé on sewn
Arches, with moving parts.
23 x 22 cms
Autumn 2002 The P’s and Q’s Press, Thame,
Oxon
£90 each
Taylor, Finlay
Pupa Press
134A Landells Road
East Dulwich
London
SE22 9PL
finlaysc@hotmail.com
Sample Book
Christine Tacq
Inspired by free samples from magazines and a
1900’s department store almanac. Six colour
etchings on Somerset paper with interleaving
Japanese tissue, letterpress printed with
Helvetica. Ledger bound and held in colour,
relief printed nylon sleeves. Published in two
editions; special (with four extra etchings) and
standard.
23 x 22 cms (special edition)
23 x 12.5 cms (standard edition)
Autumn 2002 The P’s and Q’s Press,
Thame, Oxon
Special edition £180 each, standard £90 each
Trail
Finlay Taylor
Trail is a book of screenprinted images of a
garden taken from a low vantage point. These
images and pages have been eaten by snails,
some spelling out texts such as “Song Thrush.”
Trail was first shown at the Museum of Garden
History, London.
18 x 27.5 cms
2002 Pupa Press, London
Edition of 5, £150 each
Sucker
Kate Scrivener and Finlay Taylor
This collaborative work is a zig zag binding
held in a slip case covered in an image of
convulvulus (bind weed). The book’s imagery
displays a hawk moth specimen with a proboscis
of tiny handpainted text. 25.2 x 11 cms
2002 Pupa Press, London
Edition of 5, £125 each
Vindication: Escape from the Endless Sleepover
Christine Tacq
Jane Fawcet made a sampler seven years after
“A Vindication of the Rights of Woman” was
published. Mary Wollstonecraft’s written
imagery and arguments for change, are linked
207
printed on mouldmade paper.
27 x 34 cms
2002 The Yew Tree Press, Aldsworth, UK
£70 each
Great Piece of Turf
Artists: Jasone Miranda-Bilbao, Phil Coy,
Dalziel and Scullion, Peter Dukes, Sophie
Lascelles, Denis Masi, Kate Scrivener, Jem
Southam, Finlay Taylor and Sarah Woodfine.
A collaborative work with 10 artists dealing with
landscape and natural history. Conceived as an
exhibition space to outline the gallery
exhibition of the same name at Danielle
Arnaud Contemporary Art in 2003.
See www.coverup.org for more details.
Curated by Finlay Taylor.
19.5 x 25 cms
January 2003 Pupa Press, London
Edition of 25, £275 each
A Bestiary
Guido Arderne
Large quarto bestiary after the Comte de
Buffon’s Histoire Naturelle. Illustrated with
drypoints, engravings and woodcuts in colour.
Hand bound in full cloth, printed on Fabriano
paper.
31 x 25 cms
2002 The Yew Tree Press, Aldsworth, UK
Edition of 50, £125 each
The Old School Press
The Old School
The Green
Hinton Charterhouse
Bath
BA2 7TJ
Tel: 01225 723 822
www.theoldschoolpress.com
mao@theoldschoolpress.com
Jump of the Manta Ray
Artist: Philip Hughes
Author: Carmen Boullosa
An epic and erotic poem by Mexican poet
Carmen Boullosa, with a parallel English
translation by Psiche Hughes, printed
letterpress with fifty digitally manipulated
photographic images by Philip Hughes.
37 x 33 cms
2002 The Old School Press,
Hinton Charterhouse
Edition of 60, £1,500 each
Venice - Venus
Guido Arderne
Landscape folio prints of Venice with literary
texts from Henry James, Ruskin and Mark
Twain. Hardbound in full cloth, printed on
mould made magnawi paper.
27 x 34 cms
2003 The Yew Tree Press, Aldsworth, UK
Edition of 50, £70 each
Thingsnotworthkeeping
38 Stanesfield Road
Cambridge
CB5 8NH
Tel: 01223 576017
www.tnwk.net
thebooks@tnwk.net
The Yew Tree Press
Park Place
Aldsworth
Glos
GL54 3QZ
yewtreepress.com
colin.h@yewtree502.fsnet.co.uk
Scrap Books One Hundred
Thingsnotworthkeeping
Polythene bag containing selected shredded
excerpts from The Books. 29 x 26.5 cms
ISBN 0952931131
March 2000 Object Books, Devon
Edition of 100, £1.50 each
Dolphin
Guido Arderne
Folio landscape poem and images in woodcut
and drypoint. Hardbound in Irish Linen,
208
Futhreek Fucharacterck Fuprimerck
Kin-Wah Tsang
A set of 30 books with transformed classic
Chinese “Three Character Primer” which
at first sight, looks like a specific local foul
language.
1254 x 59 cms
2002 Hong Kong
The Enduring Freedoms Mystik Writing Pad
Thingsnotworthkeeping
A campaign organiser including 52 acrostics
from The Books of the operation name for the
War on Terror - “Enduring Freedom”.
29 x 21 cms
November 2001 TNWK, Totnes, Devon
Edition of 50, £4 each
O-PENis
Kin-Wah Tsang
A book-like object with a silicone Barbie’s leg
attched inside which allows the viewer to open
and pull/play the leg.
32 x 30 cms
2002 Hong Kong
Unique book
Turley, Sandra
50 Crowhill Rd
Clare
Waringstown
Co. Armagh
N. Ireland
BT66 7SL
Tel: 02838 881816
sturley321@aol.com
Millennium Collection
Thingsnotworthkeeping
Images, nominations, stories and reasons for
100 things not worth keeping for the new
millennium. Full colour throughout.
See www.tnwk.net for more details.
10.5 x 17 cms. Object Books, Cambridge
ISBN 0952931125
Edition of 2000, £6 each
This Original Self
Sandra Turley
Explores issues surrounding adoption and lost
identity. The search for self is gradually
revealed using a method of devoré printing, a
process of burning away natural fibres.
Accordion bound, letterpress, screenprint,
with hard cover, 14 pages. 13.7 x 11.5 cms
ISBN 1 893125 21 1
Women's Studio Workshop, New York, USA
Edition of 100, £160 each
Tsang, Kin-Wah
Room 17D Ewen Henderson Court
40 Goodwood Road
New Cross Gate
London
SE14 6BL
kinwah02@yahoo.com.hk
209
Tyson, Ian
ed.it
F84290 St Roman de Malegarde
France
Tel: 0033 4 9028 9394
Fax: 0033 4 9028 9708
Boundless
<usus>: Uta Schneider and Ulrike Stoltz
Seven folded sheets about books and boats,
both containers and a means of transport.
Texts by USUS with some quotations from
other sources and a documentation of our
search for the legendary bookbinding ships.
Seven photographs add up to one large boat.
28 x 17.5 cms
2002 Nexus Press and <usus>, Atlanta, USA
£40 each
The Case for Memory
Artist: Ian Tyson
Author Jerome Rothenberg
Twelve poems with four images, screenprinted.
28 x 20 cms (28 x 40 cms open)
2001 Granary Books, New York and ed.it,
St Roman de Malegarde
Edition of 80, 850 Euros each
Visual Studies Workshop
31 Prince Street
Rochester
New York
NY 14607
USA
Tel 001 585 442 8768
www.vsw.org
press@vsw.org
Pavan (In praise of John Dowland 1563 – 1626)
Artist / author: Ian Tyson
One poem with an image, in four parts,
screenprinted.
15 x 15 cms (15 x 75 cms open)
2002 ed.it, St Roman de Malegarde
Edition of 30, 135 Euros each
A Propos Le Livre (d’ après Stéphane Mallarmé)
Artist / author: Ian Tyson
Six pages of text with six images, screenprinted.
32 x 24 cms
2002 Granary Books, New York and ed.it, St
Roman de Malegarde
Edition of 30, 850 Euros each
Book of Contemplation
Anne Iott
Six folios of images and an audio CD based on
historical Books of Hours. Includes Book of
Hours, Xerox Zen, The Dharma Body, Edible Tickets,
Mandalas and Sound. Hardback portfolio.
23 x 18 cms
2003 VSW Rochester, New York, USA
Edition of 40, $300 each
<USUS>
Uta Schneider and Ulrike Stoltz
Frankfurter Strasse 80
Offenbach am Main
D - 63067
Germany
www.boatbook.de
usus@boatbook.de
Florida Family Portrait
Judy Gelles
The story of “everyfamily” photographed in a
fixed pose over twenty years, in a trailer park in
Florida. Printed in duotones throughout, 48pp.
20 x 20 cms ISBN 0 89822 081 5
2002 VSW Rochester, New York, USA
$20 each
210
Waller, Angie
2330 Stanley Hills Drive
Los Angeles
CA 90046
USA
Tel: 001 213 944 9704
angie@couchprojects.com
the story of h & two others
Helen Ward
Softback collection of text - a play in book
form, each act a character, a player in a living
play: h = me; butterfly = music; moth = master.
All events are real, all characters are real.
Data Mining the Amazon
Angie Waller
Amazon.com has one of the most diverse
databases than can link books to music to
DVD’s to toys to electronics. Amazon’s own
‘Recommendation Services’ tracks customers’
purchases and offers additional items that
match their profile. For this book, I focused on
recommendations linking books to CD’s based
on other customers’ purchases. The phrase
“political aesthetics” allowed the distinction
between right-wing conservatives and left-wing
liberals, to link choices of political books to
find a list of music that would best describe
each political idealogy. 23.3 x 16.2 cms
March 2003, Couch Projects, Los Angeles, USA
Edition of 500, £10 each
15 x 10.7 cms
2003 ©xyzeeproductions, London
£7 each
Ward, Helen
28 Wilkie House
Cureton Street
Pimlico
London
SW1P 4EH
Tel: 07734 697691
helen@artserve.net
The Holy Qur’antine
Helen Ward
A collection of fragmented and juxtaposed
pornographic magazine images of women.
Potato prints of an Islamic veil on each
woman’s head. An examination of a social
inclusion / exclusion parody.
18.5 x 12.5 cms
2003 ©xyzeeproductions, London
£10 each
Gentlemen Prefer Pin-Ups
Helen Ward
A pamphlet style book containing transluscent
pages depicting paper doll versions of Monroe’s
famous outfits, complete with mini Marilyn.
Be a pin-up and wear her masks. 15 x 10.5 cms
2003 ©xyzeeproductions, London
£7.50 each
211
Ward, Melanie
121 Ashley Road
Montpelier
Bristol
BS6 5NU
Tel: 0117 907 8819 / 07967 948 056
melaniemayward@yahoo.co.uk
Pivot
Artist: Helen Douglas
Author: Thomas Evans
A tentative probe in spatial relations taken with
female presence and a decorative twist.
15 x 10.5 cms
ISBN 0952328402
2003 Weproductions, Yarrow, Scotland
£10 each
8 Minutes
Telfer Stokes
The sequence of pages joins two different
cultures in a seamless sequence from dominant
blues on white to reds, pinks on black.
19 x 14 cms
ISBN 0952328445
2002 Weproductions, Yarrow, Scotland
Edition of 1000, £20 each
Stripey Dress Mutations
Melanie Ward
A dress mutates in various unexpected or
disturbing ways, only to return to its starting
point. A concertina book, screen, frieze with
sixteen screenprinted images on Somerset satin
paper. Tied with red ribbon. 9.5 x 7 cms
2002, Bristol
Edition of 20, £20 each
Wild Conversations Press
30 Richmond Park Road
Clifton
Bristol
BS8 3AP
iainbiggs@tantraweb.co.uk
Pretty-Dress-With-Matching-Collarless-Jacket-Mutations
Melanie Ward
Concertina book, screenprinted in brown on
Newsprint colour Somerset satin, tied with blue
ribbon. 11.5 x 6.5 cms
2003, Bristol
Edition of 20, £20 each
Weproductions
Deuchar Mill
Yarrow
Selkirk
Scotland
TD7 5LA
Tel: 01750 82231
www.weproductions.com
zwep@weproductions.com
Between Carterhaugh and Tamshiel Rig:
A Borderline Episode
Artist/Author: Anon and Iain Biggs
Designed by MakingSpace (Isle of Wight)this is
a 176 page book with 64 colour images printed
on 200 gsm silk finish paper. The book uses the
border ballad Tam Lin as a starting point for an
exploration, in text and image, of place and
identity. Published in collaboration with
TRACE, Weymouth.
20 x 20 cms
ISBN 1 902595 06 8
2004 Wild Conversations Press, Bristol
Edition of 1000, £20 each
212
Wild Pansy Press
School of Fine Art, History of Art &
Cultural Studies
Old Mining Building
University of Leeds
Leeds
LS2 9JT
www.leeds.ac.uk/fine_art/
Email: c.a.taylor@leeds.ac.uk
All Things Considered
Artists / Authors: Sally Butcher, Nevan Carey,
Amelia Crouch, Jo Finkel, Natalie Long,
Alex Marden, Richard Morgan, Susan Porteous,
Sarah Robinson, Rebecca Sumner and
Rebekah Thompson
An interweaving of ideas, thoughts and practice
illustrated through a complex design of
overlapping pages, text and imagery.
Full colour, 24pages.
21 x 10 cms
ISBN: 1 900687 14 3
2003 Wild Pansy Press, Leeds
£5.00 each
Yoshimura, Aki
12 Richmond Park Road
Clifton
Bristol
BS8 3AP
maron_june@hotmail.com
Tracing Echoes
Artist: Nicky Bird
Authors: Nicky Bird, Pamela Gerrish Nunn,
Russell Roberts and Phillipa Wright
Through informed texts and archive
reproductions (primarily from the National
Museum of Film, Photography & Television
collection) this 72pp, full colour publication
explores the life and work of Victorian
photographer, Julia Margaret Cameron, a freak
of her time who, though being female, was
respected as a ‘master’ of her trade.
The descendants of Cameron’s sitters and the
house where she lived are all beautifully
illustrated through Nicky Bird’s own mastery of
the camera. Combined with the historical
accounts, the publication becomes an
intriguing jigsaw of complex interelations.
30cm x 22.5 cms
ISBN: 1 900687 13 5
2001 Wild Pansy Press, Leeds
£12.95 each
Hoarder’s Album 1996 - 2003
Aki Yoshimura
A variable open edition book of random images
and scribbles collected and hoarded since 1996.
Multicoloured papers with inkjet, cut-outs and
some hand drawn imagery, hand bound with
coloured ribbons.
14.5 x 10 cms
2003 Bristol
Open edition, contact artist for price.
213